In news that hopefully isn’t as troubling as it seems, Bon Jovi guitarist Richie Sambora will miss the next leg of Bon Jovi’s touring commitments due to what the band is describing as “personal issues.”
The group broke the news in a tersely worded statement on its website, stressing that “All shows will go on as scheduled.” The post didn’t specify what the band is defining as the “upcoming leg” of the tour, but it seems safe to assume they’re referring to their current run of North American shows, set to conclude April 25 in San Jose before Bon Jovi picks up again May 7 in South Africa.
As the Newark Star-Ledger observed, the reaction from fans was swift, with more than 100 comments piling up on the band’s website during the hours immediately following the announcement — most from people concerned with Sambora’s well-being, but also joined by a number of ticket buyers who feel entitled to refunds due to Sambora’s absence. Although the band declined to respond to any of those comments, the Star-Ledger reports that “dozens of comments were deleted throughout the early morning hours,” further angering a number of fans.
Sambora’s absence comes after a turbulent period during his tenure in the band, including a 2008 DUI arrest and several stints in rehab. He’s seemed to be handling his sobriety well since checking out of a treatment facility in 2011 — here’s hoping those “personal issues” aren’t substance-related.
Alter Bridge‘s members have set aside all of their other projects and are currently in the midst of writing for their next record. The group has yet to reveal when their fourth studio album will arrive in stores, but given the discussion of a fall tour, it’s likely that a late summer / early fall street date will eventually be revealed. Guitarist Mark Tremonti recently stated that he expected the band’s next effort to be packed with “high energy” songs, and now bassist Brian Marshall is giving fans a little more insight as to what’s going down in the studio.
Marshall took to Alter Bridge’s twitter account to provide the following recording update:
Alter Bridge (@alterbridge) March 30, 2013
From Brian - "So AB is about 8 songs deep in writing! There's some pretty heavy, cerebral stuff going on and it sounds awesome."
It was previously stated that the band was hoping to regroup in late April to begin writing, but it looks as though everyone has cleared their schedules to get an early jump on things. Tremonti previously explained that the plan was to start recording in earnest this summer, with a tour tentatively slated for September.
However, Alter Bridge recently teased via their website that their first tour dates of 2013 would be announced within the next two weeks. Stay tuned for details on their concerts coming soon.
One of the more intriguing tracks on Device‘s upcoming debut album is the cover of ‘Close My Eyes Forever,’ in which frontman David Draiman shares vocal duties with Halestorm singer Lzzy Hale. Now, the song has been unleashed for everyone to hear. Check it out below, as well as some insight Draiman gave Loudwire into recording the duet with Hale.
In our recent conversation with Draiman, he talked about the thrill of working with Lzzy Hale and the talent she brought to their cover of the Ozzy Osbourne and Lita Ford classic. He described the experience of recording ‘Close My Eyes Forever’ as follows:
I actually gave [Lzzy] even more to sing than the original version. Initially in the original arrangement they each had their own specific choruses instead of trading off. I gave Lzzy a lot more because I love her voice. I think she’s amazing and I just thought it would be a cooler dynamic for my version of the song to incorporate more of the female voice in this version of the cover. I’m really glad it ended up happening the way that it did with the Device project as opposed to with Disturbed, because it enabled me to go to that place with my voice that really wouldn’t have been appropriate on a Disturbed record.
I loved doing it, it’s that classical delivery and technique and that part of me that harkens back to the early cantorial days. I had tracked all of these songs completely beforehand and I had tracked Lzzy’s parts ahead of the time and brought them with me to New York when I tracked her so I had given her a guide the whole way through the song. We did everything very efficiently, very effectively to the extent where one of her label guys came in to take a peek at what was going on and he said, ‘Oh man you’re a real task master, you’re making her go take after take.’ I’m not pushing her beyond her limits — it’s only because she knows where she needs to go and there’s no experimentation, it’s very easy.
It was great and Lzzy did make a bunch of the parts her own, different emphasis and slight changes of cadence — and she’s very talented. She’s bulletproof. I’ve never seen her have a bad night.
Device’s self-titled album, which also features guest appearances from M. Shadows, Serj Tankian, Geezer Butler and others, hits stores on April 9 and can be pre-ordered here. Stay tuned for our full interview with David Draiman.
Listen to Device With Lzzy Hale, ‘Close My Eyes Forever’
On March 28, 1973, Led Zeppelin released their fifth and arguably most wide-ranging album, ‘Houses of the Holy.’
After releasing their first four records in just under three years, Zeppelin were finally afforded just a bit of breathing room with which to create ‘Houses of the Holy.’ The album came out 16 months after their landmark (and technically untitled) ‘Led Zeppelin IV.’ They responded by delivering some of their most complex, nuanced work ever, and by exploring new genres on tracks such as the reggae-influenced ‘D’yer Mak’er‘ and the James Brown funk-inspired ‘The Crunge.’
“Although everyone was clamoring for another ‘Led Zeppelin IV,’ it’s very dangerous to try and duplicate yourself,” guitarist Jimmy Page explains in the book ‘Light & Shade: Conversations with Jimmy Page.’ “I won’t name any names, but I’m sure you’ve heard bands that endlessly repeat themselves. After four or five albums, they just burn up. With us, you never knew what was coming next.”
“Got ‘Houses of the Holy’ on the box / I got it all cranked up, cause yeah, that s— rocks!” - Chickenfoot, ‘Big Foot‘
Highlights of the LP include the dynamic, folk- and rock-mashing ‘Over the Hills and Far Away,‘ the beautifully intricate ballad ‘The Rain Song‘ and the moody, keyboard-heavy John Paul Jones showcase ‘No Quarter.’ The album closes with a Robert Plant-penned love song to the band’s fans, ‘The Ocean,’ which features one of the most famous count-ins of all time courtesy of drummer John Bonham: “We’ve done four already but now we’re steady…”
In order to keep things down to single-vinyl length, the band reportedly left future classic songs such as ‘The Rover,’ ‘Black Country Woman‘ and most famously, ‘Houses of the Holy‘ either unfinished or unreleased following the recording sessions.
When asked why the intended title track never made the album, Plant refused to lie to ‘Get the Led Out‘ author Danny Somach, instead declaring, “Being silly, isn’t it? I mean, I could go into some great profound reasoning, but… I can’t even remember why. I think we thought, ‘Well, we’ll hold onto that and we’ll do something (with it).’ It was just having a laugh.”
Led Zeppelin underwent a massive tour in support of ‘Houses of the Holy,’ which found the band glitzing up their stage show with lasers, mirror balls, pyrotechnics, fancier outfits and the like. Naturally they broke just about every box office record known to mankind.
Despite traveling around the world in a swanky, custom-painted jumbo jet, the trek (and no doubt, the cumulative effect of their previous several years) left the band exhausted. It would be 18 months before they toured again, and nearly two years before they released their next record, 1975′s double-album masterpiece ‘Physical Graffiti.’
Hear the whole Led Zeppelin’s ‘Houses of the Holy’ album on vinyl.
Slash recently revealed that he had “tons of cool ideas” for his band’s next record and that he was starting to put some things together. Now the guitar great has confirmed that the demo process has begun.
At the time, the tweet must have raised a few eyebrows amongst Alter Bridge‘s fans because the guitarist shortly followed with another message stating, “AB fans have no cause for worry. They will soon release a new CD and tour this year. I will catch Myles on the flip side.”
Given that he’s been working on his own, Slash has hunkered down and started the demoing process. In a tweet at his account he revealed:
Slash’s work appears not to just be relegated to his own album, as he revealed a little later that he was listening back to a new song he wrote with John Stevens for the latter rocker’s band, Dead Daisies. That tweet reads as follows:
Jimmy Page and David Coverdale, two veterans eager to prove themselves outside of their famous bands, joined forces on the album ‘Coverdale / Page,’ which was released March 15, 1993.
Page had spent most of the previous decade-plus fitfully searching for his post-Led Zeppelin home, managing to release only three albums: two by the Paul Rodgers-fronted band the Firm, and his 1988 solo project ‘Outrider.’
Coverdale, meanwhile, had disbanded Whitesnake near the peak of their late ’80s success, tired of trying to fit into an industry where “the peripheral aspects of being a musician — the videos, the press, the makeup — were suddenly becoming more important than writing and singing,” as the former Deep Purple singer recounts in ‘Light & Shade: Conversations with Jimmy Page.’
With both artists signed to Geffen Records, it didn’t take long for A&R executive John Kalodner to suggest the pair work together. Ignoring his former bandmate Robert Plant‘s public “David Coverversion” shots at Coverdale, Page agreed to meet to see how they got on socially. As he tells Brad Tolinksi in ‘Light & Shade,’ “I figured that if we couldn’t carry on a conversation, there would be no way we’d be able to write together. As it turned out, we got along famously.”
Apparently that chemistry extended to the songwriting process as well, with Coverdale telling Jam magazine that the duo came up with between 50 and 60 tunes together, including one (‘Shake My Tree’) based on a guitar riff Page had tried to convince his Zeppelin mates to develop for their final album, 1979′s ‘In Through the Out Door.’ “No one except Bonzo (drummer John Bonham) really seemed to understand what do do with it, so I filed it away. I decided to pull it back out, and David grasped it instantly.”
‘Coverdale / Page’ was a platinum success, and first single ‘Pride and Joy’ was a strong radio and MTV hit, but the duo did suffer a significant amount of “Zeppelin clone” criticism. There is definitely some forgettable, generic blues-rock riffing and wailing to be found here, but also some fully respectable advancements on the genre, such as the swirling guitar orchestrations of ‘Over Now,’ the frantic riffing of ‘Absolution Blues’ and in particular, the alternately hypnotic and driving grooves of ‘Easy Does It.’
Overall, the main fault of the album is that unlike Plant’s solo records, Page stuck too closely to the territory carved out by his former band, making unfavorable comparisons to some of the greatest achievements in rock history all but unavoidable.
Any further chance to establish themselves as a distinct entity was dashed when a planned world tour was reduced to just a handful of dates in Japan, with Coverdale telling Jam, “The whole arrangement for the Coverdale / Page project was to go directly to the theatres, to the stage, and nothing, not even a whisper, came from Jimmy’s manager when the album was released. It was one of the singularly most frustrating periods of my professional career.”
The following year, Page reunited with Plant for the successful ‘No Quarter’ album and tour, signalling an abrupt end to this team-up, but both he and Coverdale look back fondly on their time together. “If I got a call from him, asking if I’d work with him on a solo album or anything, I’d be there in a heartbeat. I think the world of the guy and I wish him well in every aspect of his life,” Coverdale explains.
“There was no BS in any respect or in how we executed,” Page summarizes. “I wanted to show that I was still alive and kicking, and in that regard it was a total success.”
This is the first half of the 1997 "Closure" VHS release. The other half contained NIN's music videos up to that point, all of which are now viewable on our Vimeo channel at http://vimeo.com/ninofficial