Tag: Music

Interview, Movie Reviews

Experience The Devil’s Carnival

“Step right up and don’t be shy. Because you will not believe your eyes.”

The classic line that begins an old Tubes song is also the perfect introduction for “The Devil’s Carnival“, a musical movie-going experience unlike any you’ve ever seen.

Director Darren Bousman (“SAW” as well as the upcoming “Mother’s Day” remake) along with writer Terrance Zdunich (“Repo! The Genetic Opera“) are literally taking their demonic show on the road stopping at various locations across the United States. It’s a horror-musical experience not to be missed.

Featuring three stories based on familiar Aesop fables but set in the fiery pit itself, the movie includes such stars as Briana Evigan (“Step it Up 2”, “Mother’s Day”), Paul Sorvino (“GoodFellas”), Bill Moseley (“The Devil’s Rejects”) and J. LaRose (“SAW”).

But “The Devil’s Carnival” is much more than just a movie. It’s an interactive experience for fans to be a part of. Complete with live entertainment, celebrity sightings, give-aways and a question and answer session with the creators themselves.

I was fortunate to be able to speak with Darren and Terrance as they made their way into Atlanta for yet anther stop on the tour. I also had the opportunity to speak with the amazing Briana Evigan, (who plays Ms. Merrywood) and get her thoughts on what people can expect to see from “The Devil’s Carnival”.

Darren Bousman (Director):

gJg: Darren, what’s the reaction from The Devil’s Carnival Tour been like so far?

DB: It’s great. There’s really no way to describe it. It’s part rock concert, part side-show and part movie-screening. By doing it in this way you get such a great reaction from fans. Much more so than if you were doing just a regular movie screening.

gJg: What makes the experience so unique?

DB: Every night there’s some sort of live performance, whether it be burlesque or freak or men juggling knives. It’s just crazy and the crowd goes wild for these things.

gJg: Why did you decide do it as an “experience” and not just a typical screening?

DB: The market has been so over-saturated with film makers, directors and movies that it’s become so hard to find a release for anything. When I started off doing “SAW” I had 3,000 – 4,000 screens. Then with each subsequent release I lost more and more screens. My last movie only saw something like 6 screens.

So you spend years of your life working on something and it’s basically shown on a half-dozen screens. It makes you want to just sit in the bathtub with a bottle of vodka and cry yourself to sleep.

But instead, I just said, “Screw It!” I wasn’t going to allow myself to follow the trend of making movies that go straight to DVD or movies that no one ever sees. If I don’t get the reaction I want out of the people who put my movies out then I’m just going to do it myself. So we just decided to get in a van and do this tour.

gJg: So what’s the premise of “The Devil’s Carnival”?

DB: That’s a hard question to answer. The Devil’s Carnival asks the question: “Can you get people to get off their couches and go experience something that is undefinable?”

The entire Devil’s Carnival is a 2 1/2 hour experience. Part of it is the movie, part of it is a live show, part of it is give-aways and part of it is a behind the scenes “Repo” documentary.

Now if you ask what the movie is, it’s a hybrid of “Tales from The Crypt” meets the anti -“Glee”. I’ve always been fascinated with the macabre. I love dark stories and I also love musicals. So it’s kind of like mixing the dark macabre stories in a musical based format. It’s actually three different stories that are being told in hell. The wrap around is these crazy carnies and Lucifer himself.

But unlike “Tales From The Crypt”, this film has a linear structure. It’s a modern retelling of Aesop fables set in hell. We’re doing the classic “Scorpion and the Frog” but its done in a modernized, over the top, grandiose kind of way.

gJg: What are your plans for it after the tour is over?

DB: We’d really like to start work on episode two. This is the first part of many others we hope to be doing. We really want to make an impact and get people talking about it. If that happens, we’d love to start filming part two right away.

What’s really exciting about this project is that there’s instant gratification for me as a film maker. Take “Mother’s Day” as an example. I LOVE that film. I made it three years ago and it’s still sitting on a shelf somewhere. It’s finally going to be released but it just killed me that for years it just sat on a shelf. 

What’s great about this is that I control my own fate. We booked the theaters.  We booked the hotels. We bought and printed and sell the merchandise. We did everything. There’s no one out side of us who’s doing anything and that’s awesome.

So if it fails it’s because of us. If it fails it’s because we did not do our jobs correctly and I’ll have no one to point the finger at. I can’t blame the big, bad studio or anyone else. It’s our fault. By that same token, if it succeeds it’s also because of us. It’s because of our passion and our drive.

It’s a scary position to be in but i love it.

gJg: It’s total control.

DB: Exactly.

gJg: You’ve also brought back a lot of people from “Repo! The Genetic Opera” for this film as well.

DB: We did. We brought back Paul Sorvino, Bill Moseley, Alexa Vega, Ogre from Skinny Puppy. Oh, and my favorite by far is J LaRose who plays “Major” – he’s in the car with me right now and just reminded me that he was in “Repo!” too.

What’s cool is that I find people who I like to work with. We’re like a family. A very dysfunctional family, but a family none-the-less.

gJg: “Mother’s Day” with Rebecca De Mornay is finally being released. Is there anything you’d like to say about it?

DB: Yes, it comes out this Mother’s Day on a handful of screens and then on DVD the following week. I also have “11-11-11” which is going to be released on DVD so watch for that was well.  

Terrance Zdunich (Writer)

gJg: Hey Terrance, it’s great to speak with you.

TZ: You too. Sorry for the way I sound. Darren and I are literally in a van driving across the country right now.

gJg: How did the story for “The Devil’s Carnival” come about for you?

TZ: I wrote the screen play and co-wrote the music with my writing partner Saar Hendelman. As a fan, I like to write about things that I’d want to see and especially with the shortage in the dare I say, sophisticated “horror musical” market.

For me, It was inspired by amusement park dark rides. As I kid I really enjoyed hopping on those rides that also involved music. That’s sort of where “The Devil’s Carnival” began. Then it just grew on that over the last couple of years to what it is now.

gJg: What’s your musical background?

TZ: Music has always been a big part of my life. My Dad played guitar. When I was in grade school and high school I was in the marching band. I’ve also played in rock and roll bands and did some musical theater for quite a while.

I guess in a way you could say that I’m returning to my marching band roots with “The Devil’s Carnival” because it involves primarily a sort of demonic marching band. There’s no electronic instrumentation in it what so ever.

gJg: I asked Darren this question so I’ll ask you too: Why is this an “experience” and not just a film?

TZ: It came down to the fact that we really wanted to do it and projects like this just aren’t getting green lighted. We didn’t want to wait or ask permission and get approval for it so we decided on this road tour idea instead.

Right now, we’re doing what we like and the fans are responding to it! It’s pretty exciting. The film stands well on it’s on but the experience of it is really the main event.

gJg: And you get to play the ultimate bad guy in this one.

TD: Yeah, but I think in some ways Lucifer is the good guy in a round about sort of way. <laughs>

gJg: Really?

TZ: He’s not passing judgement because that’s already been made by Heaven. He’s really just holding the fun-house mirror up the sinners who’ve arrived at his gates and giving them a chance to learn and change.

Certainly the games are rigged but he’s not necessarily the ultimate bad-guy in this story.

gJg: What’s the plan once “The Devil’s Carnival” tour is over? Will the movie be released on DVD?

TZ: Eventually. We’re trying to determine the best way to release it. Ideally, we want it to be just as unique as the project and tour are. We really want the format we release it in to be an experience as well.

We’ve also written the second episode and do envision having it as an ongoing series. Whether its like a concert tour a few times a year where we unveil a new episode or sort of like a small Lolapalooza or Blue Man group….Well, a RED man group in this case..<laughs>

Briana Evigan (Ms. Merrywood)

gJg: Hey Briana.

BE: Hey, what’s going on?

gJg: I wanted to get the scoop about this movie because it looks so good!

BE: I’m so pumped about it. I love it.

gJg: Tell me a little bit about how the role of Ms. Merrywood came about for you?

BE: Well, Darren had called me up. I had loved working with him in the past so immediately said yes. I didn’t have any insecurities or confidence issues going in which was very cool. It just left an open book for me to play.

And of course, once i saw the wardrobe I pretty much knew what I was going to do. <laughs>

gJg: You get to sing in the movie too!

BE: I do! I started off my career as a musician and a dancer and actually do music on the soundtracks for each film that I’m a part of. What’s cool about this project though is that I actually get to sing in the movie as well as on the soundtrack. It was so much fun to do a bigger than life kind of song and character. It’s definitely different from anything I’ve ever done before.

gJg: What’s your favorite part of the movie?

BE:  With my character it’s got to be the whole singing part. Of course, watching Terrance as the Devil was pretty amazing too!

gJg: How has the whole “experience” of “The Devil’s Carnival” been for you as opposed to a typical movie premiere?

BE: Really cool. It’s busy because you’re meeting people left and right. It’s almost like being on auto pilot. Very surreal. You get the whole carnival kind of vibe too. It’s a lot of fun.

gJg: Putting you on the spot here: If you had to describe “The Devil’s Carnival” experience in three words, what would they be?

BE: Twisted, Exciting and Fun!

For more information on “The Devil’s Carnival” experience and tour click here.

Article first published as Experience The Devil’s Carnival on Technorati.

Childhood Memories

Saturday Night Fever

I guess its kind of fitting that I found out about it on a Saturday afternoon.

I had just sat down at my computer and started perusing the various news sites. I like to read the entertainment tabloids first if for no better reason than to see ridiculous stories about  J-Lo renting a beach or if some other celebrity got popped for drunk driving.

That’s when I read the news.

Robin Gibb is in the hospital suffering from a variety of maladies. Cancer of the colon and liver being one of them. His family making a bedside vigil hoping for recovery. Robin’s twin brother Maurice died unexpectedly back in 2003 and now, the possibility that 2/3 of the Bee Gees might be gone suddenly became a reality.

For a moment I thought about closing my web browser. I guess I believed that somehow  me doing that would magically make it disappear and everything would be as it were just a minute ago.

But I read on. And it was like a punch in the stomach.

Having myself lost my own father to the disease 15 years ago I can personally relate to what their family is going through now. I quickly re-lived everything that I went through during my father’s last days. How all of the wishful thinking, prayers and hopes that somehow, the sickest man in the entire hospital would somehow pull through just wasn’t enough.

Worse still, the news of Robin’s possible final hours only reminded me of my own mortality.

I recalled how carefree I was as an eight-year old boy back in 1977 when Stayin’ Alive was on the radio. How I went to my cousin’s house to listen to all of those cool songs from the soundtrack on his stereo. Or how I used to beg my Mom and Dad to take me to see Saturday Night Fever but was only laughed to scorn because of the “R” rating. It sure was fun being a kid during the height of the disco age.

I can’t even remember the last time I listened to that entire album. I may just have to call my cousin and see if he still has it. He probably won’t but it will be fun to talk about those days again.

And how 35 years later, I’m once again reminded that every beginning has an end.

A Conversation With, Album Reviews, Interview

A Conversation With Blues Rock Artist Julia Alyce

Think Linda Ronstadt meets Patsy Cline & Bonnie Raitt.

That’s what you get from the debut EP of blues rock artist Julia Alyce. A collection of music that Julia co-wrote in collaboration with music producer Maia Sharp.

An album that any fan of the aforementioned artists should add to their collection.

Julia’s EP features the steel guitar work of music legend Greg Leisz, who’s played on many of Joni Mitchell’s albums. Other well-known musicians  featured include: Maia Sharp (Producer, Piano, & multiple instruments), Linda Taylor (Guitar), David J. Carpenter (Bass), and Brian Macleod (Drums).

Julia’s in it for the love of the entire music process. Not for any individual moments but for the entire ride. The whole production has a “cosmic” vibe to it as well.

While working with her vocal coach in Los Angeles prior to recording the album, Julia mentioned to him that some of her biggest influences were artists like Bonnie Raitt and the Dixie Chicks. Shortly after that exchange a friend connected her with Maia Sharp, who just so happened to have worked with…wait for it: Bonnie Raitt and the Dixie Chicks. If that’s not a sign then nothing is.

All three songs on the EP reflect different aspects of love.

“Love Me or Let Me Go” – Julia’s “baby”.  Written ten years ago at a time when she was frustrated in the moment. A story of a cat and mouse game of mixed messages being played out. Just when you think you’re at the point of being wanted they suddenly push you away. It’s back and forth drama until the conclusion is finally reached: Just love me, or let me go.

Do you need me, like I need you?
Do you want me, like I want you to?

“Since I Met You” – A song about the feeling you get when you’re not sure if you’ll ever find that special person and what its like when you finally do. Something so deep that everything looks new. Just letting go and how it feels.

And now I’m seeing everything, in a way I’ve never seen it

“Innocent”– A song written by M. Sharp, M. Daly, and L. Lucas. Julia chose this song even though she didn’t write it because she could honestly relate. Having been in that situation where someone is living in the past and trying to be with them in the present without baggage. All the while thinking, “Hey, I’m innocent!”

All that lying left you tender to the touch
She really did a number…on you

The song “Love Me or Let Me Go“ also has taken on a life of its own and become Julia’s first music video. A fun video with universal appeal that’s a cross between Annie Lennox’s pop 80’s work and Robert Palmer’s “Simply Irresistible“.

Julia’s musical journey is actually a three-part plan. The first part was working with Maia and recording the EP the way she wanted to.

The second was creating the music video to give a visual representation of her and the music she represents.

The final piece of the puzzle is a music project Julia is immersed in now in Los Angeles. She’s putting together a specific sound by selecting a group of musicians who are not only passionate about the music, but also bring a special magical quality to the table to help take her show on a grassroots tour nationwide.

Julia says the timing of these artistic elements are key, but at the same time she’s not compromising her goal which is to be out there touring and interacting with her music fans for a long long time.

You may think that with a plan this ambitious it might be a bit challenging but not according to Julia.

“When you’re in the zone it’s a blast.” she says. “It’s not stressful at all.”

If her EP and music video are any indication, the future for Julia Alyce looks very bright indeed.

To book Julia Alyce contact her manager direct at: JuliaAlyceMusic@gmail.com

Article first published as A Conversation With Blues Rock Artist Julia Alyce on Technorati.

A Conversation With, Interview, Music

Bon Jovi, Donnie Iris and Copyright Law: A Conversation With Mark Avsec
Mark Avsec

Here’s a quick Bon Jovi Jeopardy question for you:

“This song, from the group’s first album, is the only song on any Bon Jovi record that was not at least co-written by a member of the band.”

Answer: What is “She Don’t Know Me“?

It was the June 16th, 1984 and my brother and I had braved the Summer heat to drive to the Allentown Fairgrounds and see the Scorpions. They were out supporting their hugely successful album, “Love at First Sting” and we couldn’t wait to see them.

The only thing that stood between two teenaged metal heads and nirvana was having to listen to the opening act: some new band with a bunch of guys out of New Jersey who called themselves “Bon Jovi“.

As luck would have it, I had actually heard of these guys before and had even bought their debut album. They were mostly known for their song “Runaway”, which at the time was getting quite a bit of airplay. But that wasn’t the song that really appealed to me.

As a 15 year-old boy there was only one song on that record that I could immediately relate to. It was the third song: “She Don’t Know Me”. I can’t even begin to tell you the countless times those lyrics came into my head during my adolescence. In certain situations, where the female persuasion was involved I always found myself thinking: “If only she would look my way”…. but “She Don’t Know Me”…

To this day, whenever I think of Bon Jovi the very first thing I think about is the summer night when I first heard “She Don’t Know Me” performed live. The song still gives me chills when I listen to it today.

“She Don’t Know Me” is a song written by Mark Avsec that appears on Bon Jovi’s debut record and to this day is the only song from any Bon Jovi record that doesn’t have at least a co-write by a member of the band. But the story of how the song appeared on that first record is no where near as interesting as the songwriter is himself. For Mark Avsec’s story goes a lot deeper than just a Bon Jovi song.

Mark’s life as a musician, songwriter and producer includes stints with the bands Breathless and Wild Cherry (“Play That Funky Music”). The latter of which gave him the opportunity to perform on stage at the Grammy Awards.

He’s also had a long relationship with Donnie Iris as a member of the Cruisers where the two of them together would write the hit song “Ah! Leah!” and subsequently lose everything gained from the song’s success by defending themselves in a frivolous lawsuit. The outcome of which led Mark himself to become an attorney to make sure that what he went through never happens to himself or anyone else again.

In this interview with Mark we’ll talk about how he came up with what I believe is one of the best and most underrated Bon Jovi songs ever. We’ll also discuss the Ah! Leah! lawsuit and his reason for becoming an attorney as well as what the future holds for himself and his long time friend Donnie Iris.

goJimmygo (gJg): What is the origin of the song “She Don’t Know Me“?  How did you come up with the idea for it and what’s it premise?

Mark Avsec (MA): I was on the road with Donnie during our tour for the first album and I was supposed to go back into the studio with La Flavour (who later became the band Fair Warning) for an album. I was going to write the songs for and produce the album.

So I wrote this on the road in a hotel room.

I generally write music first, and that’s what I did for this song. I don’t know if the lyric is anything to write home about, but it’s a basic story of when you really have fallen for someone and that person does not know you exist.  I felt that in my life. I think probably everyone has

gJg: How did the song wind up on the first Bon Jovi album?

MA: “Luck” is a factor in all of our lives and in any business. But I think “luck” plays a bigger role in the music industry or in the arts in general.  How many super-talented people are out there that we have never heard of?  A lot! Somewhere there is someone who could be as impactful as Bruce Springsteen but the stars have not aligned for that person.

However, I also believe that you have to put yourself in a position to get lucky.  That requires dedication, study, hard work. I wasted a lot of hours in recording studios working on “spec” on albums and songs that never saw the light of day. That certainly seemed to be the case for this Fair Warning album that “She Don’t Know Me” was on. It came out on an MCA label and immediately died.

What happened though, was that record executive Lennie Petze heard the song and loved it and got the song to Jon’s brother, Tony Bongiovi – with a strong suggestion that Bon Jovi should record the song for the first album. This is what was told to me – I have never independently validated this story but it makes sense.

Ironically, Bon Jovi “opened” for Donnie Iris and the Cruisers for several dates – so we got to know the guys in the band a bit. I’m a little introverted until I get to know people so I was not out there trying to meet Jon (Donnie got more friendly with Tico).

“She Don’t Know Me” was released as a second single after “Runaway” – it did respectable.  A lot of people know the song.

I’m not sure how crazy the band was about the song – It’s never shown up on any compilations or anything.

gJg: What was it like when you met Bon Jovi? Did you picture what they would turn into today?

MA: When Bon Jovi opened for us (Donnie Iris and the Cruisers) it was clear something was happening. Jon had all of the rock star moves and he was a great looking guy – the chicks loved him from the start.

gJg:The song was originally recorded by Fair Warning (Also covered by Grass Roots and Sonny Gervaci). Were you concerned at all about overkill of the song?

MA: No. Very few people knew the song until Bon Jovi recorded it.

gJg: Your song is the only one that appears on any Bon Jovi album that does not have a Bon Jovi co-write connection. Do you think this may be the reason why it’s not performed live any longer?

MA: Yes, maybe. Like I said, I’m not sure what Bon Jovi’s perspective on the song is – it really does not show up on any of the “Greatest Hits” compilations or anything, at least not yet.

Writing “Ah! Leah” and Studying Law

gJg: I read where you decided to become a lawyer because you were sued frivolously for the song “Ah! Leah!”  What was that whole lawsuit about?

MA: Some fellow from the Detroit area – he did music on the side – thought we stole a song he wrote called “Here I Go Again” or “Here We Go Again” or something like that. 

Well, I never heard the song. I knew how I wrote Ah! Leah! – I knew where I was when I wrote it.  And I certainly never heard the guy’s song.

I blame the contingency-fee lawyers who took the case, trying to take a shot. 

 

Except the onus fell on me and Donnie – two lower-middle class guys who were simply trying to support their families with music. 

The plaintiff, we learned during the trial, apparently went out to LA pitching the song to some MCA promo guy who promptly discarded the tape after a meeting. So the lawyers concocted this story where somehow the tape made the way to us to copy.  We eventually heard the song during the trial I think – the songs were nothing the same and there were many, many titles registered with ASCAP/BMI called “Here We Go Again” or whatever.

It was suggested I pay the guy settlement money. I would not give him a nickel. The trial went to a jury trial – the whole nine yards. And we won. But Donnie and I lost everything the song made and more because we had to pay our lawyers.

I can now say – and it has taken me a long time to get there – that the lawsuit was the best thing that happened to me. Because I love copyright law – and I love my life now, being an intellectual property attorney, teaching at law schools and speaking – and also still writing music and playing.

gJg: So the outcome of the case made you decide to put the rock and roll dream on hold in favor of studying law?

MA:  I became very interested in copyright law. That lawsuit made me think – “Geez, I did nothing wrong and I can be sued like that?  Without any basis?  I better learn how to defend myself.”  And I began to think about the legal system and if there were mechanisms that could be put in place to dissuade meritless, frivolous lawsuits.

Since that lawsuit was decided, we had the Supreme Court in the United States decide the Fogerty lawsuit – ruling that defendants who prevailed in copyright infringement lawsuits – should be entitled to attorneys’ fees recompense from the losing party. The copyright statute already provided that the prevailing party could recover attorneys’ fees from the losing party.  But before Fogerty, the statute was not applied in an even-handed manner to prevailing defendants and prevailing plaintiffs. So the Fogerty case was a step in the right direction. 

The corporate receipt doctrine is also disfavored now – so that amateur songwriters who send tapes to record companies that nobody wants to hear will have a harder time arguing that so-and-so-big-star stole my song because I sent it in to Universal Records and, you know, this big star now is signed to the label and has a big hit song with the word “love” in it and an A minor chord.

But I still think some lawyers who bring these cases (the so-called substantial similarity cases) – bring them too easily hoping for quick settlement.

gJg: How has that lawsuit and eventual outcome influenced the way you litigate cases?

MA: I don’t have a stomach for baseless cases. No lawyer should. I don’t bring them. And if I’m defending – I will work as hard as I can for my client to get the right result. I have had many successes and I cannot discuss them.

Music

gJg: In 2010, “Angel Love (Come For Me),” a song you co-wrote was included on Carlos Santana’s Supernatural (Legacy Edition) album. How did this come about?

MA: We’re back to “luck” again, aren’t we?  And putting yourself in a position to get lucky. When I wrote that song I had a recording studio in my house. And I worked hard and spent hours writing and recording.  And in retrospect – from an economic perspective – I wasted a lot of time because the lion’s share of that stuff never saw the light of day.

But I had a friend, Alan Greene, who I played with in Breathless – and Alan was a great, great blues guitarist – still is.  And a wonderful guy.  And so we were writing some blues-based songs for possibly an Alan Greene solo project.  And Alan and I wrote the first iteration of “Angel Love” – but it was not called Angel Love.  I think it was called “Too Much About Love” or something like that.  And it had way more of an Allman Brothers vibe to it.  The music was the same as what became the music for Angel Love, but it was even more bluesy and jam-based.  I liked the music a lot.

Well, I have another dear friend – Mason Ruffner.  And I had pre-produced Mason’s Gypsy Blood album in my basement studio.  Mason used to come over and we’d work on it.  And then Dave Edmunds, the eventual producer of Gypsy Blood, even came to the United States and visited my studio. And my studio was one of the first purely virtual, MIDI studios. And so it was decided that I would bring the entire setup over to London – where we made Gypsy Blood for real.

I thought that record was very good – and Mason had a lot of promotion behind him from the record label, but the record did not achieve the success everyone had hoped for.

So, Mason was now thinking about another record – though he had not found his mojo for what he wanted to say yet.  We remained close friends (still are) and he came back to my studio to screw around.  He heard the song I did with Alan and asked if he could write his own lyrics to it. Alan did not care – and so I said “sure.”

And so the song became “Angel Love” and we recorded it with Mason but nobody heard it.  Yet somehow it got to Carlos Santana.

A lot of guitarists – Jimmy Page and Carlos Santana among them – had respect for Mason.  Bob Dylan even devotes two pages in his Chronicles book to Mason (Mason had played on “Oh Mercy” for Dylan and Daniel Lanois).  I think it is because Mason comes from a very real “roots” tradition, growing up in Oklahoma and Texas – spending so much time on Bourbon Street in New Orleans and in Memphis honing his craft.  He is very picky about his lyrics – he is very well-read and is a serious artist I think.

So somehow Carlos heard the song – I think it was on Mason’s album which was not widely released.

Soon after that Carlos began playing the song live – there is a clip on YouTube where Carlos is playing the song in Warsaw, Poland at a huge outdoor festival.  This was the early nineties.

Well, we talk about “luck” again.  Because Carlos was going to record the song – or did record the song (I am not sure which) for his Supernatural record.  Now, if “Angel Love” had been on the original release that sold 25 million copies or so – those pennies really add up and Mason, Alan and I would have done very well.

Unfortunately, the song did not make the cut for the first release.

However, 10 years later – Carlos wanted to put it on the “Legacy” anniversary edition of Supernatural.  And “Angel Love” was the first single.

Of course, the “Legacy” edition sold nowhere near the copies the first Supernatural album did. Still, it is a thrill for a legend like Carlos Santana to record your song.

Ironically, I toured with Carlos in Wild Cherry (when I was in the band that had the hit “Play That Funky Music”). Again, I never got to know him well.  But his band was smoking – and we used to hang with them a bit and go see jazz groups after-hours with them.

gJg: What was it like to perform at the Grammy awards?

MA: It was surreal. I have a tape of the show. I don’t know if you remember the television show, Laugh-In? Because, though the show was state of the art at the time, the graphics and the production seem so amateurish now. But there I was – sitting behind Ringo and standing next to Barbra Streisand backstage. 

We stayed at the Beverly Wilshire hotel and I was waiting for my limo to take me to the show – Andy Warhol was standing there waiting for his limo and so was George Benson, who finally achieved commercial success after years of paying his dues in small jazz bars. We also toured with George Benson a lot during those days. 

As for the Grammy show, we played on the show. We were a one-hit wonder but it was a BIG hit and still is. I really had nothing to do with the success of that song. That was all Robert Parisi. I just showed up in the recording studio. I learned how to make records during that period of time. My relatives thought I was probably rolling in the dough but that was not true either.

gJg: What are the plans for shows in 2012 with Donnie Iris and The Cruisers?

MA: My friendship with Donnie is one of the joys of my life. In fact my friendships with all of the Cruisers are very meaningful to me. 

We have a very respectful band. There is no back-biting. We have always been very positive with each other. I may take the lead as the prime mover – but we have some super-talented people.  Donnie, of course. And he has really become a legend in Pittsburgh.  Marty – one of the most talented and creative guitarists. Kevin Valentine – awesome drummer and a very talented engineer and producer. Paul Goll – who was not the original bass player – but has been with us so long. The perfect guy for us now.  He sings well and plays very nice bass – and is a great person. Our great band extends to our longtime crew – and in particular, Jimmy Markovich, our longtime sound guy.

I spent so much time on Ah! Leluiah! – our Christmas album. I put my heart and soul into that. Honestly, I wept when it was done. I saw it as a legacy for Donnie and for me – and I hoped people would listen to that once a year after we pass. I know, morbid but that’s the way I approached it. I also thought Donnie really shined brightly on that album. That was an emotional record for us.

I am now writing some new songs. We want to go in the studio to record an album for a landmark event – a landmark birthday for Donnie.

I cannot talk about the album yet, except to say it is beginning to take form.

For more information on Donnie Iris and the Cruisers Click Here

 

Article first published as Bon Jovi, Donnie Iris and Copyright Law: A Conversation With Mark Avsec on Technorati.

Art, Movies and TV, NY Ink

New York Groove: My NY Ink Story
The Stencil For My Tattoo

It was a bright sunny day in August. I remember it well because I was in my upstairs bathroom shaking like a leaf. It was around 3 pm and I was getting ready to head over to South Bethlehem for sound check.

It was the summer of 2004 and my band was going to be the opening act for Clay Aiken at Musikfest. On the biggest stage of them all. The fastest sellout in the festival’s history – 6,500 people. We had the greatest female singer ever in our arsenal that got us there. But I was a nervous wreck.

I had dreamed about this forever. Since the first day I picked up my grandmother’s hand held potato slicer and pretended it was a guitar (true story). The callused fingers, the long walks downtown to Ken Brader and Son’s music store for lessons on brutal summer days. The countless number of  hours spent practicing after school.

While other kids went out and played sports or hung with friends I was trying to figure out how Eddie Van Halen got his kung-fu. I even used to write journal entries in high school of what my life was going to be like after I “made it”.

And now here I was, sitting in my bathroom next to the bowl for fear of losing my lunch. I’m still not sure how I held it together.

But somehow my “Rock Star Moment” was here. And I wasn’t about to let it slip away.

Ironically, it was being part of a country band that gave me this opportunity. The last thing you’d probably ever expect from a guy who grew up playing Survivor, Bon Jovi, Ozzy and AC/DC .And yet it was because our singer had won a regional vocal competition that we were invited to be the opening act.

So, a METAL head in a COUNTRY band gets to open for POP star. Musical irony.

Imagine the day in the life of your favorite chart topping artist as they arrive at a venue to perform. That was me that day.

Megan Massacre

All the crew members doing whatever it takes to make you comfortable so you could ready yourself for a night of great music. Ushering you off away from the adoring public. Ok, so this “public” was there to see Clay Aiken but this was my “moment” so I could think what ever I wanted.

Clay had just placed second in season two of American Idol but was almost on the same level as Justin Bieber is today. People were going bonkers for him.

Surreal.

This was the story that I told Megan Massacre as she tattooed me. This was the reason for getting my very first tattoo: to commemorate the day my dream came true.

Although my segment with her never actually aired there is a brief glimpse of Megan tattooing me during a transition between scenes as you can see in the one photo.

Frankly, I’m still wondering if this picture justifies me having my own IMDB listing… I can see it now:

Actor: James Wood:  Appeared in: “NY INK Season 2″… In the role of:  “Arm being tattooed by Megan Massacre“.

I honestly can’t say enough good things about my experience at Wooster Street or the tattoo that Megan did. What’s even better is that I now have a story within a story to tell when people ask me about it.

And I couldn’t ask for anything cooler than that. What do you think?

 

Music, Thought and Opinion

The Rock & Roll Hall of Shame

Is there anyone who cares at all about the Rock and Roll Hall of Fame anymore? A shrine that supposedly celebrates music but over the years has turned into one huge joke.

Late last year a lot of brouhaha was made when it was announced that Guns N Roses was going to be one of the acts to be enshrined.

Anyone whose had a pulse in the music industry over the last twenty years already knows that the classic line-up of this band has literally HATED each other for years. In fact, I believe that since it was formed in 1985 the band has gone through almost two dozen different members.

Don’t get me wrong, I love the classic GnR line-up. But let’s be real here folks: if the Hall’s whole intention was to try to have these guys reunite on stage, play again and suddenly come to their senses and get back together, they’re sadly mistaken.

And that poses the question:

Why even have a music award ceremony recognizing a half-dozen acts and none of the inductees even wants to play together?

Yesterday guitarist Slash, a staple of the band in its early inception and one of the first to leave at the height of its success due to drama, told a reporter that the band will NOT reunite and play at the induction ceremony. In fact, he’s not even sure if his “old buddy” Axl Rose was even going to attend. He only “assumed” that he would. What does that tell you?

But the thing that really gets me was when Slash nonchalantly told the reporter that he hates “formal” ceremonies and the honor of being inducted with the likes of Elvis Presley, Jimi Hendrix and Eric Clapton hasn’t even sunk in.

He’s on par with LEGENDS and he feels NOTHING?…It just goes to show you how much of a farce the whole thing has become. It’s meaningless.

The Hall inducts bands like Guns N Roses but ignores way more deserving artists. Consider just a few of these bands that are NOT in the Rock and Roll Hall of Fame:

KISS, RUSH, JOURNEY, FOREIGNER, REO SPEEDWAGON, SURVIVOR,  THE DOOBIE BROTHERS, STYX, IRON  MAIDEN, CHEAP TRICK.

Whether you personally like any of these bands or not you have to admit that the successes they’ve achieved over the years equally match what Guns n Roses did. And in every case these bands are far more deserving because they’ve been doing it longer.

And my guess is, if you inducted any of them and asked them to perform with the most classic line-up they probably would without question. I think they’d probably be honored to. Go figure.

It will be interesting to see if the classic Guns N Roses can put aside their differences and take us where the green grass and pretty girls are one more time. But even if they did do the impossible there’s one thing I know for sure:

I won’t be watching.

Music

Denied

If there’s one thing you can say about me it’s that I’m passionate about my music.

I grew up listening to a wide variety of music. From dare I say Barry Manilow, ABBA and The Carpenters to Survivor, Led Zeppelin, REO Speedwagon, Journey, The Cars, Bryan Adams, Bon Jovi and those other zany hair bands.

So when I was finishing my basement a few years ago I decided I wanted to have a music room/office area. One that would contain my guitars, keyboards and other musical paraphernalia.

At one point I came across a bunch of old record albums I had lying around in a box and had an idea. Rather than throw all of them out since the turntable had gone the way of the 8-track, I decided to decorate my “Rock Room” by hanging them in frames on the walls. Record albums I could look at and think about all the good times gone by.

Then it dawned on me. Putting records on the wall was kind of lame. It would look too “TGI Fridays”….No, the only REAL way to put these things up would be if I could somehow get them SIGNED by members of the band from the time the record was made. No small task indeed.

And to make it even more challenging, I made a single rule for myself. I would NOT buy one of those back-stage pass deals to get it signed. It HAD to be at a show. And it had to be FREE. Not something I purchased where the artist was obligated to sign.

Ok, I made one exception to the rule and that was for the first Beatles record. Obviously, that thing will never get signed. 50% of the band is dead, 25% of the remaining members you’d need to be the Queen to get a signature from and the last 25% has said bluntly that he’ll never sign anything ever again. But I put it on the wall anyway. I mean, c’mon, it’s the Beatles.

Some of the others though I’ve had more success with.

Survivor’s Vital Signs album, my Holy Grail of records. The one with “Can’t Hold Back”, “High on You” and The Search is Over” on it. I was able to get it signed at Hershey Park of all places. The guys came out and signed for everyone shortly after the show a few summers ago.

Another shining moment came during an REO Speedwagon concert at the State Theatre in 2009. I was able to get up to the front of the stage for the encore and had a bunch of the band sign my “Wheels Are Turnin'” record. Wow, this was easier than I thought….or so I thought.

But this note is entitled “Denied” so by now I think you might have an idea as to where this may be going.

I found myself in the 5th row of the Bryan Adams concert at the State Theatre one Sunday night last year. It was on his “Bare Bones Tour” where it was just him, his guitar and a piano player. There was a glimmer in my eye as I held my copy of his “Reckless” album. You know the one. With “Summer of 69”, “Heaven” and “Run To You” on it. The record that was another staple of my life back in high school.

This was going to be cool. Because unlike my other efforts to obtain signatures, this one was for a solo artist. The problem with getting autographs on my other records is that sometimes members of the current bands lineup doesn’t include all of the same players that performed on the album. If I was lucky, maybe there were three of the five still in the band. So some of my treasures can still be labeled as incomplete.

But this one wouldn’t be. Yes sir ree. One signature was all I needed. A signature from Bryan Adams shining in blue Sharpie in the upper left hand corner real big. Can you tell I had this pretty well planned out?. It would happen. It HAD to happen.

One of the best shows I’ve ever seen at the State Theatre, Bryan went through much of his catalog of hits from back in “the day”. My heart got giddy as the end approached. I had done my research (you really have to if you want to do this thing right)…He would leave the stage and come back for a final encore of two or three songs.

Prior to the last songs Bryan persuaded people to come up to the front to which I did with Reckless and Sharpie in tow. As I got to the front of the stage euphoria set in. I could “SEE” him signing my record. I looked around and noticed that I was the only dude in a gaggle of women. Women with NOTHING to be signed. I fondly recalled the line Flounder gave in Animal House when he said “Oh boy, is THIS GREAT!!”

I could hear one of the girls next to me telling her friend that he would do “Summer of 69” one more time as the encore. I snidely looked over at her and corrected her by saying he’d do “Straight From the Heart”. And when he started singing “I could start dreaming but it never ends…”…a smile came across my face as there was no longer any doubt as to who the REAL fan was…

I noticed Bryan look over in my direction several times during the last song and I even had shown him the Reckless album and he kind of smiled. A good sign. Then after the song was over he just said good night and left. And the equation had been solved:

Me  + Reckless Album + Gaggle of Women with Nothing To Be Signed = Bryan signs nothing…

I ask you: Can there be anything sadder than a man standing alone with his un-signed album at the foot of the stage when the house lights come on?

I never know when, if ever, I’ll get a chance to have the Reckless record signed again. But I had a great run of success getting signatures which will continue. This was my first setback.  It was great re-living all those songs again in concert and all the great memories they brought back.

I think I’m going to put this album on the wall anyway.

A Conversation With, Interview, Movies and TV

A Conversation With Michael Berryman

When I was first introduced to Michael Berryman it was most likely the same way many other metal head purists from my era had first met him: by seeing his performance as the mean principal in the Mötley Crüe video for the song: “Smokin’ in The Boys Room”.

He was the ideal fit for the foreboding and intimidating figure that roamed the school halls and scared any would be malcontent. Someone you’d never want to meet in a dark alley let alone a principal’s office because a dog ran off with your homework.

Mr. Berryman has built quite an extensive resume of portraying these frightening and intimidating characters. From a mutant biker in “Weird Science” to even the devil himself in an episode of the 1980’s television show “Highway to Heaven“.

He’s been a part of the Star Trek franchise and is also a favorite of director Rob Zombie, having appeared in his films “The Devil’s Rejects” (2005) and the soon to be released “The Lords of Salem”.

But Michael is quite the opposite of the types of characters he portrays on-screen. In fact, it may surprise you to learn that he’s a strong advocate for the environment and leaving something behind for future generations to enjoy.

And here’s something else you might not know: the second film Michael was cast in just happened to be “One Flew Over The Cuckoo’s Nest”, the 1975 film starring Jack Nicholson that went on to win five Academy Awards including Best Picture.

But the role Michael is probably best known for is his portrayal of Pluto in the 1977 Wes Craven Film “The Hills Have Eyes”. Considered a cult favorite among horror enthusiasts the film has spawned two sequels (one in 1985 and the other in 1995) and two separate remakes (2006/2007). The original film also ranks #41 on Bravo’s list of 100 Scariest Movie Moments.

I had the pleasure of speaking with Michael and get his thoughts on the Hills as it turns 35. We also discuss the Mötley video, the importance of preserving the environment, his thoughts on working with film legend Jack Nicholson and his newest thriller,
“Below Zero“.

goJimmygo (gJg): Hi Michael, this is James Wood, how are you?

Michael Berryman (MB): Pretty good James!

gJg: It’s good to talk with you.

MB: You too!

gJg: Did you ever think that after 35 years people would still be talking about “The Hills Have Eyes“?

MB: Oh gosh, has it been that long? <laughs>

gJg: Isn’t that crazy?

MB: That really is. <laughs>

gJg: How did the role of Pluto come about for you?

MB: Well, I had just gotten home from my second gig which was Cuckoo’s Nest. We had worked 127 days on it and I had really learned a lot. So I came home to Santa Monica and actually had no idea what was going to happen next.

Then one day my agent called me and said he had a part for me to look at for a movie called “Blood Relations”. That was the name of the company but was also originally going to be the title. He said there was a producer named Peter Locke and some director named Wes Craven he wanted me to meet with. So he set up a meeting and I went and met everyone and was handed the script.

They told me it was going to be about a three-week shoot out in the desert north of Los Angeles. I told them that I was already familiar with the area. The temperatures there were always hot in the daytime and cool at night.

So a few days went by and they called my agent and offered me the role.

gJg: Any interesting stories from the set?

MB: I remember the day I went into wardrobe. I met a gal there who was also working on a degree in anthropology at UCLA. I guess you’d say she had some knowledge of the kinds of things a cannibal family might wear.

The necklace she gave me had some cool things on it: a pair of dentures, some bullets. My bracelet was actually comprised of real human teeth that she had gotten from a friend of hers who was a dentist.

We were going for realism and I guess they just figured I had the look for it. <laughs>. They discussed the premise and I said “Ok, let’s have some fun with it.”

gJg: Were there any accidents on the set? I look at the rocky terrain it was filmed on and I could just imagine people twisting their ankles on it.

MB: I was familiar with that area so that wasn’t really a problem. The worst part though was climbing those mountains. No one got hurt but it was very precarious.

One of the biggest issues though as far as people almost being hurt was probably the day we had the rattlesnake on the set. It wasn’t just your typical diamond back, it was a Desert Mojave Green and they are as deadly as a cobra. I mean really, really dangerous.

I remember we were all sitting in the ravine one day having lunch and I noticed that people were jumping out-of-the-way of something. I looked over and saw that the snake had some how gotten out of the cloth while the animal handler was getting something to eat.

Now here’s the scary part: one of the actresses actually picked it up and handed it back to him and he almost fainted. Wes and Peter were freaking out.

Fortunately, what the handler had done was taken some thin line and looped it through the jaw of the snake over the bone so it couldn’t get its jaws open far enough for fangs. But still…

gJg: Still scary!

MB: Yes it was. So he took care of that and then I asked him: “Why a Mojave Green?” and he said, “Well, its actually my pet.”

So I knew right then that he was a whack job. <laughs>

gJg: Do you see anyone from the movie anymore?

MB: Well, I actually have. I ran into Janus (Blythe who portrayed Ruby) a few years ago. Once in a blue moon I’ll run into some others.

I saw Peter Locke (producer) a few years ago in LA when they were getting ready for the first remake of The Hills Have Eyes (2006). Peter told me he’d see me in Morocco. The only problem with that was the director didn’t want me. So I’m not sure why they even bothered to call me in.

gJg: Anyone else?

MB:  I’ve run into Dee (Wallace, who portrayed Lynne Wood) at a few conventions over the years. Ken Horn (make-up artist) is the curator of the Hollywood Wax Museum. I bump into him every once in a while.

gJg: Now your character, Pluto, supposedly dies in the original film when the dog attacks him. Was that the way it was supposed to be or did they leave it open-ended for a sequel?

MB: No, originally we didn’t think there was going to be a sequel so I was pretty much dead. But in part two I explain how I managed to get patched up after the dog attack.

The one thing I really liked about Part 2 was the fact that we used a different type of film so it has a real vintage look to it.

About the only thing I wasn’t too thrilled about was the “Reaper” character. I just didn’t feel that he was a very complete character.

gJg: And then that damn dog got you again (the same dog that supposedly killed Pluto in the first Hills movie pushes him off a cliff in this one).

MB: <Laughs>… Yeah well, what can you do?

***

Michael on the Mötley Crüe Video:

gJg: What was the story behind the video for Smokin’ in the Boys Room?

MB: My first agent was still with me when I got the video. He called me up and he says, “Hey, there’s this band called Mutley…uh, Motley Crew and they want you for their video.” So I said, “Sure, I’ll go do it”.

So we went into this high school auditorium and all hung out in a make shift green room they had set up behind the curtain. They were all super nice guys, very down to Earth.

As we were sitting there making small talk we started bouncing around ideas on how to make my character silly. That’s when we came up with the idea for the wig, the bow tie and eventually, the ear wiggle.

gJg: Ah yes, the ear wiggle!

MB:  You know, there’s actually an interesting story with that. I told Mick (Mars, guitarist for Mötley Crüe) that I could independently wiggle my ears. Well once he and everyone else in the band saw me do it they loved it and wanted to use it. So the ear wiggle was put in at the very end of the video right after they snatch off my wig. It must have worked because the video was number one on MTV for quite a long time.

Well one day people started calling me up and telling me that they had noticed that the ear wiggle scene had been taken out of the video. Apparently, “someone” didn’t care for it and had an editor go into work one day and remove it.

But I guess over time enough people complained about it so they went back in and put my ear wiggle back into the end of the video..

So you know, it’s a cute rumor.

Years later I’m working on a voice over for Penny Dreadful, and low and behold the guy who was doing the editing for the film comes up to me and says, “Hey, a long time ago I used to work for MTV as an editor and one day I had to put your ear wiggle back into the Mötley Crüe video”.

<laughs>

So it’s a full circle kind of thing.

***

Michael on his newest thriller, “Below Zero”:

gJg: I see that you have a new movie out now, Below Zero.

MB: You betcha.. Below Zero.

gJg: What’s the premise of this film?

MB: It’s a thriller. Eddie Furlong plays a screenwriter who can’t meet a deadline. So he arranges to be shipped out into the middle of nowhere, locked inside of a freezer at a slaughterhouse. He’s got everything in there he needs to work. He just can’t come out until he has a finished script. And all during the process you don’t know if what you see is something he is writing or if it’s real.

I play the part of Gunnar who is the guy who runs the slaughter-house.

gJg: Oh, so Gunnar is a real character. He’s not part of his imagination. He’s real?

MB: Well, no he’s not….but then again….(pause)…maybe he is….. <laughs>

gJg: How did I know you were going to say that? <laughs>

MB: The movie leads in three directions and the cinematography is exquisite.


gJg: The trailer for it looks great!

MB: We’re all very proud of it. We filmed it two years ago in Canada. People can go check out the Facebook page or the official website to learn more about it. I know they’ve been playing the trailer most recently. It’s got a great musical score and is doing very well at festivals all over the world.

I’m saying that probably by summer it should be out for sale. I think its going to do really, really well.

gJg: Just from what I’ve seen of it so far I’d have to agree.

MB: It’s really, really good. I actually have a DVD copy of it and I’ll watch it every once in a while. The cool thing about it is that every time you watch it you enjoy it again, freshly. It’s not something you watch once and then put away. It doesn’t lose any impact over subsequent viewings. It’s really strong and I’m proud of it.

In fact, if you want to know the truth, I think it’s my best work yet.

And why?

Because it was my last work. And every time I work I do a little bit better.<laughs>

gJg: Yeah, that’s a good way to look at it.

MB: Well, you try. <laughs>.

***

Michael on giving back:

gJg: I noticed the tattoos they gave you for this role as well.

MB: Oh those aren’t fake, those are real.

gJg: Really? Wow, those are really colorful.

MB: Yes, they are. The one on my right arm is the sunset with the moon rising and mountains in the background. The one on my left arm is of a mother wolf and a pup. I actually lived at a wolf sanctuary for ten years.

gJg: Oh really?

MB: Wolf Mountain Sanctuary.in Lucerne Valley, CA. It’s run by my good friend Tonya Carloni. She rescues wolves and gives them a descent place to live. What she does is a very noble cause.

We also teach people about habitat preservation and the importance of preserving what we have before it turns into something like Joni Mitchell said: “Paradise turned into a parking lot.” We really need to leave something for our children to enjoy.

***

Michael on working with Jack Nicholson in “One Flew Over the Cuckoo’s Nest“:

gJg: Michael, I just can’t end our interview without asking you about what it was like working on Cuckoo’s Nest with Jack Nicholson.

MB: I get asked quite a bit about Jack and I tell everyone that I found him to be such a down to Earth regular guy.

He told me one day, “Michael, if I was as tall as you I’d be an NBA star right now.” (Michael is 6′ 2″). Jack was very athletic but just didn’t have the height for it.

He was just a real, honest, wonderful guy and a terrific talent and I was just tickled that he won an Oscar for it because he just threw himself into that role.

gJg: Well Michael it’s been so great talking with you. Is there anything else you’d like to say in closing?

MB: I just want to wish the very best to all of my fans. May you all have a peaceful, wonderful life and when you wake up tomorrow, make it a great day.

gJg: Couldn’t ask for anything more than that.

MB: That’s the plan I’m keeping.


Article first published as A Conversation With Michael Berryman on Technorati

Music, Thought and Opinion, Uncategorized

Musical Procrastination

It’s been a sad couple of weeks for music lovers in the Blues, R&B, Pop and Rock categories. We’ve lost people whose music influenced entire generations of fans.

Etta James, Whitney Houston, Davy Jones and just this morning Ronnie Montrose, all passed away long before we were ready for them to.

And while it saddens me that such great talent has moved on, some of us that remain have said things that have me scratching my head a bit.

One of the first things I always see lighting up the Facebook and Twitter feeds when our musical heroes die are posts from people who, perhaps unbeknownst, indirectly beg people to go out and buy their music posthumously. It’s as if when these musical greats leave those of us left behind feel compelled to give them one last big send off.

Maybe its a way to make ourselves feel better and somehow make these musical pioneers relevant again on the big stage. To show this generation of robotic, auto-tuned, vanilla music lovers what “real” music is all about. To say to them: “Do you see what you missed out on by being inside your bubble all this time? Natural talent that changed the game. And now it’s too late.”

But it’s not too late. Why must we wait until they are gone to try and get others to appreciate their contributions? We really need to stop putting off all of the great music that exists in this world. Let’s open our ears, maybe just a little?

Don’t you think Etta, Whitney, Davy, Ronnie or the thousands of other great artists would appreciate it more by seeing fans shouting from the rooftops while they’re still alive? The music never dies. It’s always been there. When are people going to get out of their box, test the musical waters and try new things?

Chances are, what they’re listening to now was influenced by the ones who’ve gone and they don’t even know it.

The choir that I’m a part of did a piece by John Rutter last year called “The Music’s Always There For You“. It’s a beautiful piece and one whose words seem to echo my thoughts. See if you agree:

But the magic you share when you make music
Won’t leave you when the time has come to part;
And it feels like you never have to say goodbye,
Because the music’s always there in your heart.

Album Reviews, Music

Omertà : Album Review

What happens when you take elements of Dream Theatre, Symphony-X and Disturbed, throw them all into a blender and then add the blazing guitar of a true genius of his instrument?

You get: Adrenaline Mob.

Consisting of drummer Mike Portnoy, vocalist Russell Allen, guitarist Mike Orlando and newcomer, bassist John Moyer, Adrenaline Mob continues to build upon the success that started last summer with the release of their self-titled EP.

Fans who may have missed out before will be pleased to discover that four of the songs from that record also appear on the band’s soon to be released full-length album, Omertà.

Produced by the Mob themselves and mixed by Jay Ruston, well-known for his work with Anthrax and Steel Panther, Omertà disproves the old adage that metal albums are made to just melt faces (although, let’s face it, there’s nothing wrong with that). The truth is though, it’s always been the songwriting and the sound that matters most and on both counts Omertà delivers the goods.

From the first few bars of the in your face intro of “Undaunted” I found myself once again asking the question: “How the hell do these guys sound so damn good?” It’s inhuman. They make it look so easy. And the best part of it all is: it’s actually THEM playing and singing. Not just another studio trick that record companies have been spoon-feeding the masses for years.

I mean lets face it, these guys are real musicians. Ones who have spent years honing their craft. Musicians similar to the greats I idolized growing up and ones who will now carry the torch on to the next generation of metal heads.

In addition to the songs from the original EP, here are a few more highlights from Omertà:

Indifferent is a song about self-reflection. One that is radio ready and a song that I can already picture blaring from my car speakers on hot summer nights.

I never thought you’d hear me say, “I’m better now, so I don’t need your sympathy.”

All On The Line nicely mixes things up with Russell Allen’s crisp vocals and an acoustic guitar intro delivering the message before kicking things back up.

I don’t wanna wake up and make the same mistakes.
It happens to me all the time.

For the metal head purists, the groove on Feelin’ Me is infectious and will keep your fists pumping for a long time.

One of the real gems on Omertà is the band’s version of the song Come Undone. That’s right, you read that correctly: a Duran Duran cover!  Something die-hard metal fans might consider “blasphemy” but in reality is actually just another example of how music has universal appeal. The song also features a guest vocal performance by Lzzy Hale of Halestorm – Genius!

Omertà is the next chapter in the story of Adrenaline Mob and coincidentally ends with the blazing song Freight Train, a cacophony of guitars and drums complete with real engine sounds.

Which makes me so glad I’m along for the ride.

Check it out!

Omertà Track Listing:

1. Undaunted
2. Psychosane
3. Indifferent
4. All On The Line
5. Hit the Wall
6. Feelin’ Me
7. Come Undone
8. Believe Me
9. Down To The Floor
10. Angel Sky
11. Freight Train

For more information on Adrenaline Mob check out: www.adrenalinemob.com