V/A - 1999 - Humanary Stew?: A Tribute To Alice Cooper
Formato: MP3
Bitrate: 128
Tamaño : 44MB
Download Aqui
http://www.megaupload.com/?d=GRF7IKB8
Rock,Hard Rock,Heavy Metal,Guitar Virtuoso,Pop-Rock,Rock & Roll,Fusion
Elliott, Joe: Arguably the most popular hard rock band of the '80s (and definitely one of the most tragedy-prone) was Def Leppard, fronted by singer Joe Elliot. Born in Sheffield, England, on August 1, 1959, Elliot became transfixed by such rockers as David Bowie, T. Rex, Queen, and Thin Lizzy as a teen. As an escape from Birmingham's tough, steel-town streets, Elliot would often fantasize about fronting his own band, one that he made billboards for even though it was purely fictional: Deaf Leopard. By the late '70s, he hooked up with the band Atomic Mass (who contained guitarist Pete Willis and bassist Rick Savage, among other members who came and went), taking the name of Elliot's imaginary band but changing the spelling to resemble one of their favorite bands, Led Zeppelin. Drummer Rick Allen and second guitarist Steve Clark were welcomed aboard shortly thereafter, as the band quickly built up a following with their heavy yet melodic rock, becoming part of the burgeoning New Wave of British Heavy Metal movement (which included Iron Maiden, Saxon, Motörhead, and Judas Priest).
A contract with Mercury-Polygram followed in 1979 due to the popularity of their self-released EP, Getcha Rocks Off. Their major-label debut followed a year later, On Through the Night, while 1981 saw the release of their sophomore effort (and first to be produced by Mutt Lange), High N' Dry. Willis was replaced with Phil Collen for the band's third release, Pyromania, which saw the group sweeten their sound even more and indulge in a complete image makeover (especially Elliot, who barely resembled his old self in the video for the album's first single, "Photograph," sporting newly frosted hair and such hip '80s fashions as leg warmers and a union jack t-shirt). The album quickly rocketed up the charts and became 1983's most popular rock release, as Def Leppard became worldwide arena headliners. A long four-year layoff followed (in which drummer Rick Allen lost his arm in a car accident) before the release of the band's much-delayed fourth album, Hysteria, saw the light of day. But the album was worth the wait, as it somehow even outsold its mega-platinum predecessor, spawning a total of seven hit singles and videos. After releasing two classic rock releases back to back, the band took a break, but tragedy struck the band again in early 1991 when Clarke died after a long bout with alcoholism. The band regrouped with ex-Dio/Whitesnake guitarist Vivian Campbell and soldiered on throughout the rest of the decade with such albums as 1992's Adrenalize, 1996's Slang, and 1999's Euphoria, as well as the compilations Retro Active and Vault: Def Leppard's Greatest Hits.
Elliot has appeared on other artist's recordings, including Mick Ronson's (his idol) 1994 release Heaven and Hull and Ron Wood's Slide on This, as well as singing "All the Young Dudes" alongside another idol, Ian Hunter, at the 1992 Freddie Mercury Tribute Concert at Wembley Stadium. Elliot also penned a pair of songs for the 1996 British motion picture When Saturday Comes (the title track and an instrumental ballad called "Jimmy's Theme"
, and lent his vocal talents to a rendition of "Under My Wheels" for the Alice Cooper tribute disc Humanary Stew. In addition to his musical activities, in 1998 Elliot and Savage opened up an American-style restaurant/bar in Sheffield called the Players Café.
Mustaine, Dave: Although he never appeared on any of their albums, guitarist Dave Mustaine lent a major hand in creating Metallica's groundbreaking thrash metal sound. Born on September 13, 1961, in La Mesa, CA, Mustaine and his family had to move often while he was a youngster to escape the wrath of his alcoholic and violent father. It was through his older sister that he was turned on to music (mostly the singer/songwriter folk sounds of Cat Stevens), but by his teenage years, Mustaine had become a major metal fan; teaching himself to play guitar while not learning from his father's mistakes, he began indulging heavily in alcohol and shortly thereafter, hard drugs. It was during his tenure as a drug dealer that he was turned on to the New Wave of British Heavy Metal (Iron Maiden, Saxon, Motörhead, Venom) from a "client" who would offer payment in the form of albums.
Living in the Los Angeles area by this time and inspired by this new heavy style, Mustaine set out to form a band patterned after the NWOBHM sound that would focus more on music than image (the complete opposite of what the entire glam metal scene of the Sunset Strip was doing at the time). Through a local paper ad, Mustaine hooked up with singer/guitarist James Hetfield, drummer Lars Ulrich, and bassist Ron McGovney -- leading to the formation of Metallica. Although the band's sound and approach would eventually influence countless other metal bands, Metallica wasn't succeeding in L.A. With McGovney not pulling his weight, the group welcomed new bassist Cliff Burton to the fold -- but Burton would only join if the group relocated to San Francisco. With nothing to lose, the band made the trip, and instantly garnered a substantial following with their high energy live shows and a heavily circulated demo, No Life 'Til Leather. The demo landed a record deal with the independent Megaforce label, but the group would have to relocate yet again, this time to New York.
Shortly after arriving, Metallica booted Mustaine from the band, citing that his self-destructive ways were proving detrimental to the others.
Deeply depressed, Mustaine returned back home on a bus. It was during the nearly weeklong ride that Mustaine came up with the name and concept for his next band, Megadeth -- the subject matter and lyrics would be more thought provoking than his previous band's, and the music would be even more intense and precise. Shortly after he returned home to California, Mustaine befriended a metal-loving/bass playing neighbor in his apartment, Dave Ellefson, who was the first to enlist in Mustaine's new outfit. Drummer Lee Rash and former-Slayer guitarist Kerry King also signed on and began playing out (with Mustaine eventually handling the vocal chores in addition to guitar). By 1984, Rash was replaced by Gar Samuelson, while Chris Poland stepped in for King, who had returned back to Slayer, as Megadeth signed to Combat Records. Their debut, 1985's Killing Is My Business, created a buzz in the metal underground, but the buzz turned to a roar by the time of their major-label debut for Capitol a year later, Peace Sells...But Who's Buying, considered one of the greatest metal releases of all time, eventually reaching gold status.
Throughout the rest of the '80s, Mustaine's addictions grew larger and more dangerous as he and Ellefson were the only constant members amidst a revolving door of other hired guns. 1988's unfocused So Far So Good So What was followed two years later by Rust in Peace, a glorious return to form. It was perceived in the press that Mustaine was now finally "clean and sober," but this proved not to be case, as he continued to battle his demons throughout the '90s. Mustaine also continued to duke it out in the press with his former bandmates in Metallica, as he claimed to have written the majority of the music for their first few albums (to a certain degree, this proved to be true, as Mustaine earned songwriting credits for such early Metallica songs as "The Four Horsemen," "Jump in the Fire," "Phantom Lord," "Metal Militia," "Ride the Lightning," and "Call of Ktulu," among others). Nevertheless, Megadeth racked up such further hit albums as 1992's Countdown to Extinction, 1994's Youthanasia, and 1997's Cryptic Writings. In addition to his Megadeth duties, Mustaine also appeared in the 1988 Penelope Spheeris-directed metal documentary Decline of Western Civilization II: The Metal Years, covered the Democratic National Convention for MTV in 1992, joined former Fear frontman Lee Ving for a one-off project dubbed MD.45 (their lone album was 1996's The Craving), and designed his own line of instruments for the Jackson guitar company.
After several near-death experiences, Mustaine cleaned up his act for good in the late-'90s, as Megadeth continued to tour and crank out further releases -- 1999's experimental Risk and their first release for the Sanctuary label, 2001's The World Needs a Hero. The band (and to a greater degree, Mustaine) was the subject of a VH1 Behind the Music episode the same year, as well.
Daltrey, Roger: Who lead singer Roger Daltrey forged a parallel solo career beginning in 1973, when the group had begun to fall apart in the aftermath of Quadrophenia. Born March 1, 1944 in London, Daltrey grew up in the same Shepherd's Bush neighborhood as future Who bandmates Pete Townshend and John Entwistle, performing with them as the Detours as early as his late teen years. Over time, Daltrey developed into one of rock's most powerful lead vocalists, a position to which he staked his claim on the Who's 1971 masterpiece Who's Next; his onstage persona was one of macho swagger, accompanied by such antics as twirling his microphone like a lasso.
Daltrey first traveled the solo route in 1973 with an album titled simply Daltrey, featuring mostly material penned by a then-unknown Leo Sayer that served as a departure from the Who's signature hard rock sound. The Who reconvened for The Who by Numbers in 1975, a year that saw Daltrey release his second solo album, Ride a Rock Horse, and appear in Ken Russell's films Lisztomania (as composer Franz Liszt) and an adaptation of Tommy (in the title role). While the Who went on hiatus for several years, Daltrey released One of the Boys in 1977 and appeared in the 1978 film The Legacy. During the Who's post-Keith Moon era, Daltrey co-produced and starred in the film McVicar, a biography of train robber John McVicar; members of the Who appeared on its soundtrack, which essentially served as a full-fledged Daltrey album and found him bridging the gap between hard rock and the pop songs of his earlier solo work. After the Who officially disbanded in 1983, Daltrey's solo albums became uniformly hard-rocking affairs, most notable among them 1985's Under a Raging Moon. In addition to the Who's 1989 reunion tour, Daltrey has since continued to act in occasional television and film roles, as well as releasing the solo album Rocks in the Head in 1992.
Dio, Ronnie James: Although his trademark tales of 'dungeons and dragons' may have single handedly inspired Spinal Tap (more concisely, Tap's overblown epic "Stonehenge"
, Ronnie James Dio is unquestionably one of heavy metal's most talented and instantly identifiable vocalists. Born Ronald James Pardovana in Portsmouth, NH, on July 10, 1949, the young Dio started his music career at an early age, playing bass and trumpet for a local band called the Vegas Kings. The band changed names over the years, until the late '60s when they became the Electric Elves, specializing in rock and folk sounds. By the dawn of the '70s, their name was shortened to simply Elf (with Dio focusing on lead vocals full-time, and changing his name to Ronnie James Dio) and a record deal came their way, with ex-Deep Purple bassist Roger Glover producing. After several releases failed to chart, Elf met ex-Deep Purple guitarist Ritchie Blackmore through Glover, who had just left the Purple and was looking to form a new project. Shortly after their initial meeting, Blackmore invited most of Elf to join his new outfit, Rainbow.
While Blackmore's original musical plan for Rainbow was to get back to basics (the complete opposite of what the rock dinosaur Deep Purple had become towards the end), the new group ended up sounded more or less like Purple, in fact, a more apparent prog rock edge was added. Such hit albums as 1975's Ritchie Blackmore's Rainbow, 1976's Rainbow Rising, 1977's On Stage, and 1978's Long Live Rock N' Roll helped introduce Dio to the heavy metal masses worldwide, but when Blackmore made it clear that Rainbow was his band, Dio jumped ship. Shortly thereafter, Dio received word that Ozzy Osbourne had left Black Sabbath, and a tryout was arranged. Dio got the gig immediately (penning most of the Sab classic "Children of the Sea" at their initial jam session), and helped Sabbath break out of their creative and commercial slump, resulting in such metal classics as 1980's Heaven & Hell and 1981's Mob Rules. With Sabbath enjoying their greatest success in years, Dio shocked the metal world by leaving what appeared to be a promising union after the spotty Live Evil release appeared in 1982.
Fed up with the 'singer for hire' tag that was bestowed upon him by many, Dio set out to form his very first solo project, called simply Dio. Similar in style to his previous bands, but with a slightly more commercial edge to it, Dio's first two solo albums, 1983's Holy Diver and 1984's Last in Line, racked up platinum sales -- making the band an arena headliner in their own right (complete with a highly theatrical and prop-heavy stageshow). In 1985, Dio also found time to lead a heavy metal version of Band Aid/USA for Africa called Hear N' Aid, which saw an all-star group of metallists performing a Dio-penned song, "Stars," with all the funds of the single and album of the same name going to fight starvation in Africa. Although Dio couldn't sustain it's initial commercial success, they remained a consistent metal attraction. In the early '90s, Ronnie mended his differences with his old Sabbath mates, and found himself fronting the band once again for an album, 1992's Dehumanizer, and subsequent tour. Predictably, the reunion didn't last long, and he returned back to solo work, resulting in such albums as 1996's Angry Machines, 2000's Magica, and 2002's Killing the Dragon.
Neil, Vince: "I told them about you bro. They saw you and they're stoked," admitted Mötley Crüe drummer Tommy Lee to future lead vocalist Vince Neil the night the band came out to see the bleached blonde singer perform with his band Rock Candy at the famed Hollywood nightclub, Starwood. Neil, however, was apprehensive at first as he was very happy with his current band but agreed to an audition the next weekend as to not hurt Lee's feelings. The singer was quickly ushered into the band, and for the next decade they embarked on a heavy metal odyssey full of music, mayhem, and four consecutive multi-platinum albums.
Born Vince Neil Wharton on February 8, 1961, in Hollywood, CA, Neil was the focal point of the band with his long blonde hair and screeching vocal style. While not a schooled vocalist, Neil definitely looked the part. Born and raised in the Los Angeles area, he epitomized the carefree California "surfer dude" image, which was, at the time, the ideal persona for a heavy metal front man (à la David Lee Roth).
After Neil joined Mötley Crüe in 1981, the band recorded the self-produced album Too Fast for Love, which attracted the attention of Elektra Records' Tom Zutaut. They were subsequently signed and in 1983 released their major-label debut, Shout at the Devil, that went on to become a multi-platinum smash and launched the band into superstardom. Unfortunately, after the ensuing tour to support the album with Ozzy Osbourne, Neil was involved in a serious alcohol-related car accident in Redondo Beach, CA. The singer, who was driving drunk, skidded into an oncoming car, killing his passenger, Hanoi Rocks' drummer Nicolas "Razzle" Dingley, and seriously injuring the two passengers in the other vehicle. Neil avoided prison and was sent to a drug and alcohol rehabilitation clinic and ordered to pay damages to the victims.
Despite the accident, Mötley Crüe pressed on and released 1985's Theatre Of Pain which quickly went multi-platinum as did 1987's Girls, Girls, Girls and 1989's Dr. Feelgood, an album that became the band's biggest success. Following the massive tour to support Dr. Feelgood, Neil was fired from the band. As to why he was fired is up to different interpretation from different bandmembers. As a result, the singer embarked on a semi-successful solo career, teaming up with former Billy Idol guitarist Steve Stevens on 1993's Exposed, which sold respectably. In 1995, Neil released the Dust Brothers' produced Carved in Stone which failed to live up to expectations. Mötley Crüe also failed to recapture their '80s success with their 1994 self-titled album and asked Neil to rejoin the band in 1997.
1997's Generation Swine saw the band reunited with their original lead singer, Neil, and the original lineup of guitarist Mick Mars, bassist Nikki Sixx, and drummer Tommy Lee. This lineup would not last long, however, as Tommy Lee would leave the band in 1999. Following yet another departure, the band released New Tattoo in 2000.
Dickinson, Bruce: Perhaps second only to Rob Halford, Iron Maiden's Bruce Dickinson was the most acclaimed and instantly recognizable vocalist to emerge from the New Wave of British Heavy Metal movement of the early-'80s. Born Paul Dickinson on August 7, 1958, in Worksop, Nottinghamshire, he adopted the first name Bruce as a youngster for reasons unknown. Shortly after relocating to Sheffield as a teenager, Dickinson became enamored of such '70s heavy metal bands as Deep Purple, and after an attempt at becoming a drummer didn't work out, he began singing in local bands -- Styx (not the renowned American band of the same name), Speed, and Shots. But none of these bands broke out of regional status, something that would change when Dickinson fronted his next band, Samson.
The group, named after guitarist Paul Samson, specialized in heavy metal despite punk being all the rage at the time in their native England (during his tenure with Samson, Dickinson went by the name Bruce Bruce). The band issued a pair of albums with Dickinson, including 1980's Head On and 1981's Shock Tactics, and while the bandmembers were part of the aforementioned NWOBHM movement, they failed to gain the popularity obtained by such fellow acts as Def Leppard, Judas Priest, and Iron Maiden (in fact, their greatest bit of publicity was non-musical -- their drummer, Thunderstick, would wear a black cloth mask that caused some criticism when a British rapist wore a similar-styled disguise). Citing "musical differences," Dickinson left the band in the summer of 1981 shortly after Samson appeared at the summer's Reading Festival.
Almost immediately after his exit from Samson, Iron Maiden's singer Paul Di'Anno left the band despite being in the midst of a meteoritic rise to stardom. A tryout was arranged with Dickinson, who was named Iron Maiden's new vocalist in late 1981. Several months after joining the group, Maiden released The Number of the Beast -- not only one of the best albums of their career, but an undisputed all-time heavy metal classic. With his powerful operatic vocals, the new Dickinson-led Maiden stormed the charts and arenas worldwide for the remainder of the decade -- solidifying their standing with such further acclaimed releases as 1983's Piece of Mind, 1984's Powerslave, 1985's Live After Death, 1986's Somewhere in Time, and 1988's Seventh Son of a Seventh Son.
Despite Maiden's massive success, rumors always circulated about Dickinson often butting heads with Maiden founder/bassist Steve Harris, and the release of Dickinson's first ever solo album in 1990, Tattooed Millionaire, only intensified the speculation. But Dickinson returned to Maiden shortly thereafter, lending his vocal talents to 1990's No Prayer for the Dying and 1992's Fear of the Dark. While the band remained extremely popular in just about every area of the world, Maiden began losing its footing stateside, and sensing that the band's best days were behind them, Dickinson left the group in 1993 after a farewell tour (several Dickinson-era live albums were issued by Iron Maiden around the same time -- A Real Live One, A Real Dead One, and Live at Donnington 1992).
Maiden would soldier on with replacement vocalist Blaze Bayley (formerly of Wolfsbane), while Dickinson resumed his solo career, resulting in 1994's Balls to Picasso, 1995's Alive in Studio A, 1997's Accident of Birth, 1998's The Chemical Wedding, and 1999's Scream for Me Brazil. But like Bayley era Maiden, Dickinson's solo career failed to reach as wide of an audience as '80s Maiden had. Dickinson and Maiden patched up their differences by the late '90s, as he rejoined the group for a successful reunion tour in 1999, and a year later, for the album Brave New World and supporting tour.
While Maiden is once again his top priority, Dickinson has also formed a side project, named Trinity, with two of heavy metal's other top vocalists -- Geoff Tate (Queensrÿche) and Rob Halford (ex-Judas Priest). In addition to music, Dickinson is an avid fencer, has authored a pair of comedic books (Lord Iffy Boatrace and The Missionary Position), hosted U.K. radio shows, is a certified airplane pilot, as well as a scriptwriter (he penned an as yet unused script based on his The Chemical Wedding album). In 2003 Dickinson inked a deal with Mercury and unveiled Balls To Picasso followed by the Sanctuary released Tyranny of Souls in 2005. He continues to tour with Iron Maiden.
Snider, Dee: After the 1987 dissolution of Long Island pop-metal hitmakers Twisted Sister, frontman Dee Snider embarked on a series of solo and group projects that kept him busy through the '90s. Snider first formed a new band called Desperado with guitarist Bernie Torme, bassist Marc Russel, and drummer Clive Burr. The group recorded an album, Bloodied but Unbowed, which was never officially released (although some copies did eventually pop up overseas). Snider next formed the heavier Widowmaker, retaining Russel on bass and recruiting guitarist Al Pitrelli and drummer Joey Franco (a member of Twisted Sister for that group's last album). Widowmaker debuted with 1992's Blood and Bullets and managed to record one more album, 1994's Stand By for Pain, before disbanding. Snider next turned his attention to film, specifically the horror genre; he wrote, produced, and acted in Strangeland, which was released in 1998. Snider also performed off and on with an outfit called the SMFs, which was devoted mostly to Twisted Sister repertoire. In 2000, Snider released his first solo album (with Bernie Torme on guitar). Titled Never Let the Bastards Wear You Down, the record was composed mostly of songs from the '80s that Snider had never previously recorded for official release.
Lewis, Phil: Phil Lewis was born in 1966. Over the years he has played with a number of bands including Girl, London Cowboys, and Filthy Lucre, but his biggest claim to fame has been as lead singer of L.A. Guns.
Dokken, Don: The lead singer and namesake of 1980s heavy metal band Dokken, Don Dokken (born Donald Maynard Dokken) fueled Los Angeles' metal scene beginning in the late '70s. Although Dokken temporarily disbanded following the Monsters of Rock tour and a multi-platinum album, in 1988 he continued to make his presence felt as a soloist and with the Don Dokken Band, featuring guitarists John Norum and Billy White, bassist Peter Baltes, and drummer Mickey Dee. Re-formed in 1994, Dokken remained as tumultuous as ever. Original guitar player George Lynch, who had led his own band, Lynch Mob, during Dokken's hiatus, was replaced by Reb Beach, former guitarist for Winger and Alice Cooper in 1998. In a subsequent interview, Dokken explained that Lynch had "threatened to kill me in front of the record company president in Germany and tried to blackmail the president into flying his girlfriend to Germany or he would not do a TV show for three million viewers." Beach was later replaced by Don Dokken Band guitarist John Norum. In June 2003, the reorganized group toured the United States with Poison.
Jones, Steve: Johnny Rotten and Sid Vicious were obviously the most attention-grabbing members of the Sex Pistols, but it was guitarist Steve Jones who led the charge musically. Born September 3, 1955 in London, England, Jones took up the guitar in the early '70s -- inspired by such acts as T. Rex, the Faces, the Stooges, and the New York Dolls. Since he was penniless, Jones acquired a wide variety of musical equipment by stealing from others (including David Bowie's Spiders from Mars during the group's farewell shows at the Hammersmith Odeon in 1973). It was around this time that Jones befriended drummer Paul Cook, and the duo formed a local band to jam on their favorite covers. By 1975, Cook and Jones (plus a small group of London teenagers) began frequenting a clothing shop called Sex, owned by Malcolm McLaren, who had briefly managed the New York Dolls and possessed a love for controversy.
McLaren offered to manage the duo if they would put together a proper band, which quickly led to the entrance of bassist Glen Matlock and singer Johnny Rotten. The same year the Sex Pistols were formed, a confrontational and thought-provoking band that was the complete antithesis of the bloated dinosaur that rock had become (especially overblown progressive rockers), and along with such U.S. outfits as the Ramones, helped create punk rock. Nearly all of the songs that the newly formed quartet penned around this time would go on to become punk rock classics, which was no mean feat, especially since Jones was still learning how to write songs at the time (he'd usually play along to songs by other groups, then be inspired to come up with his own riffs). The Sex Pistols were a magnet for publicity due to their then-shocking antics, which resulted in the group being signed by several record companies, then dumped before they could make any full-length albums. Matlock exited the group before sessions could begin for their debut album (with Warner Bros. Records' backing), and was replaced by Rotten's friend Sid Vicious.
The group's one and only officially released studio recording, 1977's Never Mind the Bollocks Here's the Sex Pistols, is often considered to be one of rock's all-time great recordings. Spawning such timeless punk anthems as "Holidays in the Sun," "Anarchy in the U.K.," "God Save the Queen," and "Pretty Vacant," all contained instantly memorable guitar riffs courtesy of Jones -- which were subsequently copied by countless other players over the years. But despite all the hoopla, a volatile mix of drug problems, ego conflicts, and poor management created tension between the bandmembers, leading to their breakup in early 1978 after an inaugural tour of the U.S. had wrapped up.
Jones and Cook decided to remain together in the wake of the Pistols' split, as they contributed session work to ex-New York Dolls guitarist Johnny Thunders' star-studded 1978 solo release, So Alone. The pair also completed several Rotten-less tracks for a post-mortem Sex Pistols film, The Great Rock 'n' Roll Swindle (a few of which featured the debut of Jones on lead vocals) -- "Silly Thing," "Lonely Boy," "Here We Go Again," "Black Leather," and "Friggin' in the Riggin'." By the end of the year, Jones had produced an EP for the San Francisco punk outfit the Avengers (The American in Me), while Jones and Cook had teamed up with Thin Lizzy members Phil Lynott, Scott Gorham, and Brian Downey for a short-lived solo project, the Greedy Bastards (the band would issue a lone single, "A Merry Jingle," in 1979, under the truncated name of the Greedies).
In early 1979, Jones and Cook supplied backup to several tracks by ex-Runaway Joan Jett ("You Don't Own Me" and "Don't Abuse Me"
, which would turn up on her debut album, Bad Reputation, while a Cook/Jones demo of her eventual breakthrough hit, "I Love Rock N' Roll," would later surface on Jett's 1994 rarities set, Flashback. A proposed new band with Sham 69 members Jimmy Pursey (vocals) and Dave Tregunna (bass) ultimately failed to get off the ground, which led to Cook and Jones cutting demos with bassist Andy Allen. 1980 began with the duo appearing in the movie Ladies & Gentleman, The Fabulous Stains (alongside Clash bassist Paul Simonon), in addition to Jones contributing guitar to a pair of tracks on the Siouxsie and the Banshees' release, Kaleidoscope. By the summer, the Cook- Jones-Allen outfit, officially called the Professionals, had signed with Virgin Records and issued a self-titled debut the same year. Before a supporting tour could be launched, Allen was replaced by ex-Subway Sect bassist Paul Myers, while second guitarist Ray McVeigh was welcomed on-board, as well. A sophomore effort, I Didn't See It Coming, was issued in 1981, but a serious car accident in the U.S. ended its supporting tour prematurely, and would lead to the dissolution of the Professionals the following year.
Jones developed a dangerous drug addiction around this time, but it didn't prevent him from forming the new wave supergroup Chequered Past in late 1982, comprised of ex-Silverhead and Detective frontman Michael Des Barres, plus ex-Blondie members Clem Burke, Nigel Harrison, and Frank Infante (with Infante being replaced by ex-Iggy Pop bassist Tony Sales). But like the Professionals, Chequered Past had a very short shelf life, as they split after issuing a lone self-titled studio album in 1984. By the mid- to late '80s, Jones had cleaned up his act; as he co-wrote several songs for ex-Duran Duran guitarist Andy Taylor (Taylor's 1987 solo debut, Thunder) and Iggy Pop (1987's Blah Blah Blah and 1988's Instinct). Jones had also launched a brief solo recording career around this time, issuing a pair of heavy metal-esque releases -- 1987's Mercy and 1989's Fire and Gasoline (which included songs co-written by Mötley Crüe's Nikki Sixx and the Cult's Ian Astbury, with guest appearances by Guns N' Roses Axl Rose and the Cult's Billy Duffy).
Jones steady recording schedule continued throughout the '80s and '90s, as he worked with the Nothings, Bob Dylan, Don Johnson, and the short-lived Johnny Depp/Gibby Haynes project, P. Jones formed another rock supergroup in the '90s, the Neurotic Outsiders, which featured ex-Guns N' Roses bassist Duff McKagan and drummer Matt Sorum, plus ex-Duran Duran bassist John Taylor. Predictably, the quartet lasted for only a single release, a 1996 self-titled debut. Further studio work came Jones way (Suicidal Tendencies singer Mike Muir, an Alice Cooper tribute album, Insane Clown Posse, etc.), while Jones co-produced the 1999 self-titled debut by AC/DC/Guns N' Roses-disciples Buckcherry. Surprisingly, the original Sex Pistols lineup reunited in 1996 for a world tour and live album, Filthy Lucre Live, before splitting up once more. Also around this time, Jones and his ex-bandmates were all extensively interviewed for the Sex Pistols superb bio-movie, 2000s The Filth and the Fury.
Hughes, Glenn: Starting out as the bassist and lead vocalist for English hard rockers Trapeze (which evolved from British soulsters the News) in 1969, Glenn Hughes achieved his greatest fame as the bass player of Deep Purple from 1974 until the group split in 1976. Hughes subsequently reconvened Trapeze (with no records resulting) and issued his solo debut, Play Me Out, in 1978. His next effort, recorded with guitarist Pat Thrall under the name Hughes/Thrall, appeared in 1983, and worked in the supergroup Phenomena in 1985. Hughes then joined Black Sabbath as lead singer for 1986's The Seventh Star, departing after that album and eventually surfacing with -- of all artists -- the techno/house group the KLF, performing on their 1991 single "America -- What Time Is Love?." In 1993, Mike Varney's Shrapnel label issued the new Hughes solo album Blues, on which he played bass and sang with an array of guest guitarists. A string of solo releases followed through the '90s, including 1995's Burning Japan Live, 1997's Addiction (which addressed some of the personal problems that had kept Hughes out of recording for most of the latter half of the '80s), and 1999's The Way It Is. Mid-2000 saw the release of Return to Crystal Karma and Feel. The bluesy Building the Machine hit the shelves in 2001 while 2002's Hughes Turner Project coupled the bassist with another Deep Purple alumni, Joe Lynn Turner. Songs in the Key of Rock appeared in 2003, followed by Soul Mover in 2005.
Mars, Mick: "There is no other choice. It has to be him. Who is this short, long-haired, Cousin It waiting to plug in?" This is how former Mötley Crüe drummer Tommy Lee described his first meeting with Mick Mars, guitarist for the seminal '80s glam rock band Mötley Crüe. Unbeknownst to Lee, Mars was a seasoned guitar player who was quite a bit older and had played in numerous bands (White Horse, Vendetta) prior to that fortuitous day. Born Bob Alan Deal on April 4, 1955, in Terre Haute, IN, the Deal family eventually settled in Huntington, IN, where he attended his first concert. This event would inspire him to pick up the guitar (he actually began on bass guitar) and join his first band, a Beatles cover group called the Jades. He was 14 years old. By then, he and his family had relocated to Garden Grove, a small community in Southern California. Citing influences ranging from Jeff Beck to the Paul Butterfield Blues Band, Mars would eventually land the lead guitar slot in what would become one of the biggest rock bands of the '80s.
After playing for years in various bands around the Los Angeles area, Mars placed an ad in a local paper to which Mötley Crüe founder/bassist Nikki Sixx and drummer Tommy Lee responded. Mars was hired on the spot. The band went on to add vocalist Vince Neil and proceeded to gig around Hollywood creating a buzz with their outrageous stage show. A show which included Mars' spitting blood à la Gene Simmons-style and Sixx lighting himself on fire. The band eventually landed a record deal with Elektra Records and Mars began what would become a very tempestuous but rewarding songwriting collaboration experience with Sixx -- one that would propel the band into super stardom. Mars was often perceived as the overly reclusive and quiet member of the band; however, this perception was created by a degenerative bone condition called ankylosing spondylitis. This disease caused the guitarist to appear hunched over on- and off-stage, resulting in his image as the shy and mysterious member. The disease also spawned a serious alcohol addiction that landed him in rehab years later. After signing their record deal, Elektra went on to reissue the band's self-produced first album, Too Fast for Love, in 1982.
The follow-up album, 1983's Shout at the Devil, put these Hollywood bad boys on the metal map as Mars and the band dominated '80s metal. They released three multi-platinum albums in a row; 1985's Theatre of Pain, 1987's Girls, Girls, Girls, and their most commercially successful album to date, 1989's Dr. Feelgood, the end result of Mars' catchy rock riffs (while frequently intoxicated) and Sixx's rebellious and sexually driven lyrics.
As the '90s loomed on the horizon, Mötley Crüe was at a crossroads. Neil left the band and alternative/grunge rock became mainstream. John Corabi soon replaced Neil, who in addition to singing was also an accomplished guitar player. Corabi proceeded to play some guitar parts on the band's 1994 self-titled album. This infuriated Mars. He didn't have to worry for too long, as Corabi was subsequently fired when the album did not sell. Neil was rehired, and the original lineup was once again intact. The reunion album, Generation Swine, was released in 1997 and New Tattoo followed in 1999.
Smith, Adrian: While not an original member of Iron Maiden, guitarist Adrian Smith proved to be one of the missing pieces to the puzzle (singer Bruce Dickinson being the other) early on -- resulting in the band obtaining elite status among the metal masses soon after. Born on February 27, 1957, in Hackney (located in East London), Smith was captivated by such renowned hard rock guitarists as Jimi Hendrix and Deep Purple's Ritchie Blackmore early on, while his sister's boyfriend's record collection only intensified his appreciation of hard rock. It wasn't long before a school chum and guitarist, Dave Murray, convinced Smith that he should take up the guitar himself. Murray and Smith began to play together in bands, and with Smith's decision to pursue music full-time, he opted to drop out before graduation. Smith's first serious band, Evil Ways, eventually evolved into Urchin, a group that Murray would sometimes be a part of as well. But Murray's main focus was his other group, heavy metallists Iron Maiden, who were making quite a name for themselves locally during the late '70s. Smith was even asked to join Maiden at one point during this time, but opted to pass due to his commitments to Urchin.
Meanwhile, Maiden quickly became one of England's top metal outfits, as the band's 1980 debut, Iron Maiden, nearly topped the charts back home. With Urchin disintegrating, Smith had a change of mind, and finally agreed to join Maiden in time for the recording of the group's sophomore effort, 1981's Killers (supposedly beating out Phil Collen for the spot, who would soon turn up in Def Leppard). Automatically, Smith and Murray formed one of heavy metal's top '80s-era guitar duos, as they took Thin Lizzy's twin-guitar setup to a whole other level -- especially on such subsequent releases as 1982's classic Number of the Beast (which saw the arrival of singer Dickinson), 1983's Piece of Mind, 1984's Powerslave, 1986's Somewhere in Time, and 1988's Seventh Son of a Seventh Son. Smith also turned out to a valuable songwriter as well, as he completely wrote or co-penned such Maiden classics as "22 Acacia Avenue," "Flight of Icarus," "2 Minutes to Midnight," "Wasted Years," and "Can I Play With Madness," among others (Smith even sang lead on the Somewhere in Time-era B-side, "Reach Out"
.
However, by 1989 it was becoming increasingly obvious that Smith was growing disenchanted with Maiden, as he issued an obscure solo album, credited to A.S.A.P., titled Silver and Gold. Despite the album not exactly lighting up the charts, Smith exited Maiden in 1990, replaced by Janick Gers. Little was heard from Smith throughout the '90s, until he reappeared alongside Dickinson (who had followed Smith's lead and left Maiden) on the releases Accident at Birth (1997), Chemical Wedding (1998), and Scream for Me Brazil (1999). With Smith and Dickinson working together once more (and with Maiden's popularity sagging), the duo reunited with their old Maiden pals in 1999, resulting in further sold-out tours and new studio albums, including 2000's Brave New World and 2003's Dance of Death. The 21st century edition of Maiden is also one of the few in metal to include three guitarists -- Smith, Murray, and Gers.
Friedman, Marty: One of the ultimate '80s guitar shredders, Marty Friedman first made his name with the speed-burning virtuoso outfit Cacophony, but landed his most widely renowned gig as the lead guitarist of Megadeth during the thrash legends' greatest period of popularity. Friedman was born in 1962 and grew up in the Baltimore area; he began playing guitar at age 15 in a band called Deuce, shortly before his family moved to Hawaii. While in Hawaii, Friedman hooked up with a local band (which changed names and personnel fairly often) and recorded with them on three different albums. Friedman studied guitar in earnest, going so far as to explore ethnic music (particularly Asian and Middle Eastern) in search of new, exotic scales to incorporate into his lead playing. He initially connected with the shred-guitar label Shrapnel in 1981, but it wasn't until 1987 that he, along with friend Jason Becker, made an impact on the larger guitar community. The twin-guitar heroics of their debut album as Cacophony, Speed Metal Symphony, made an instant splash, and both took the opportunity to record the solo albums they'd been working on individually prior to the genesis of Cacophony. Friedman's solo debut, Dragon's Kiss, was released on Shrapnel in 1988, and it was stylistically similar to his Cacophony material. After one further Cacophony album, 1989's Go Off!, Friedman and Becker went their separate ways. Friedman joined Megadeth in late 1990, becoming their third lead guitarist in four albums; however, he managed to bring some stability to the position, remaining with the band for ten years. His debut with the band, Rust in Peace, demonstrated his immediate impact on the rest of the group, still standing as one of the most technically accomplished albums in all of thrash metal. His second album with Megadeth, Countdown to Extinction, was the band's popular breakthrough, making them one of the biggest heavy metal groups in the world. In 1992, Friedman capitalized on the group's popularity as an opportunity to do something different: he stunned metal fans by hooking up with new age star Kitaro for a reflective, Asian-tinged instrumental album titled Scenes, which also appeared on Shrapnel. Pleased with the results, Friedman continued in that vein with his second contemporary instrumental album, 1994's Introduction, which boasted an even stronger Japanese flavor; that year, he also married Chihiro. Friedman continued to pursue his solo career as an outlet for less aggressive sounds, releasing True Obsession in 1996. Friedman left Megadeth in 2000, about a year after the release of their Risk album. He released Music for Speeding in 2003, followed by an instructional video called 99 Secret Lead Guitar Phrases in 2006. Loudspeaker arrived in early 2007.
Slash: As the lead guitarist for Guns N' Roses, Slash established himself as one of hard rock's finest and most soulful soloists during the late '80s, technically adept yet always firmly grounded in the gritty Aerosmith and Stones licks he loved. Slash was born Saul Hudson on July 23, 1965, in Stoke-on-Trent, England, to artistic parents both involved in the entertainment industry; his mother was a clothing designer who worked on David Bowie's film The Man Who Fell to Earth, and his father designed album art for such artists as Neil Young and Joni Mitchell. The family eventually moved to Hollywood, where Hudson attended junior high, received his first guitar, and met future GNR drummer Steven Adler. With Hudson adopting the nickname Slash, given to him by a family friend, the two formed a band called Road Crew; although it proved unsuccessful, it was the vehicle through which they met and eventually joined up with the other members of Guns N' Roses.
The Gunners debuted in June 1985, and even before Appetite for Destruction was released in 1987, the band acquired a reputation as notorious alcohol and drug abusers. As their popularity soared, the reserved Slash established himself as an important part of the band's visual image, with a top hat and a mound of shaggy black hair covering his face as he typically staggered around the stage with a cigarette dangling from his mouth. Hedonistic excess consumed most of the band, with such incidents as Slash and Duff McKagan's drunken, profane acceptance of the band's American Music Award on live television. In 1990, opening for the Rolling Stones, Axl Rose's infamous on-stage pronouncement that he would leave the band if certain members did not stop "dancing with Mr. Brownstone" (using heroin) was primarily directed at Slash and Adler; Slash kicked his habit within a year, but Adler did not and was fired. In 1992, Slash courted controversy again with a product endorsement for Black Death vodka. Later that year, he was married to actress and model Renee Sorum, a union that lasted five years.
Meanwhile, in spite of controversy and personnel turnovers, Guns N' Roses had actually continued to record music. After the Use Your Illusion sets of 1991 and the 1993 punk covers album The Spaghetti Incident?, the band went on hiatus. Slash formed a side project called Slash's Snakepit, which consisted of fellow Gunners Matt Sorum (drums) and Gilby Clarke (guitar), plus bassist Mike Inez and vocalist Eric Dover. The group released an album in 1995 titled It's Five O'Clock Somewhere; Slash hit the road with a slightly different touring lineup, with Brian Tichy and James LoMenzo signing on as the rhythm section. In 1996, Slash put together a different band to play at a blues festival in Budapest, an endeavor that evolved into Slash's Blues Ball. Featuring vocalist/harmonica player Teddy Andreadis, rhythm guitarist Bobby Schneck, saxophonist Dave McClarem, bassist Johnny Griparic, and drummer Alvino Bennet, Slash's Blues Ball devoted themselves primarily to a repertoire of classic blues covers, plus occasional GNR and Snakepit material.
Rumors about the status of Guns N' Roses had been swirling for some time, and in October 1996 it was confirmed that, owing to his unwillingness to follow Axl Rose's interest in industrial and electronic music, Slash was no longer a member of the band (although he left the door open for a reunion if Rose decided to return to guitar-based rock & roll). He gigged off and on with the Blues Ball into 1998, although a rumored live album never materialized. Instead, Slash decided to re-form the Snakepit in 1999 with an entirely different lineup (the original members were by this time involved in other projects, and the Blues Ball was more suited to touring than developing original material). Raspy-voiced singer Rod Jackson and ex-Venice drummer Matt Laug came on board, along with Blues Ball bassist Griparic (now Johnny Blackout) and Teddy Andreadis, who contributed keyboard and harmonica work. After trying out ex-Alice Cooper guitarist Ryan Roxie, Slash settled on rhythm guitarist Kerry Kelly, who had previously worked with Warrant and Ratt.
The new Snakepit played some gigs together and in the spring of 2000 completed a new album, which was originally slated to be released on Interscope/Geffen. However, feeling that a more traditional guitar rock album would get lost in the promotional shuffle, Slash moved over to Koch, which finally released Ain't Life Grand in October 2000. A few years later, Slash teamed up again with McKagan and other notable rockers to form the supergroup Velvet Revolver, who released their first album in 2004.
McKagan, Duff: The youngest of eight children, Duff McKagan was born in Seattle, WA, in the spring of 1964. His real name is Michael, but his family gave him the nickname Duff at the age of two and it stuck. He grew up rebellious, falling in love with punk and glam rock by the time he was a teenager. His brother, Bruce, introduced him to the bass, but he did not take to the instrument right away. At the tender age of 16, the Fastbacks hired him on as their drummer, giving him his first shot in the developing Seattle rock scene. He left the band toward the end of 1981 and began playing in countless other punk combos in the area. Most influential was his work with the Fartz, a band that never made it that far but served as one of the primary influences on grunge innovator, Mudhoney. While McKagan enjoyed the gigs he was working, he tried his luck in Los Angeles after a few years of playing in the Northwest. Upon moving to the town, he met future Guns N' Roses founders Slash and Steven Adler, and decided to form a trio with the others called Road Crew. The band gave them the kind of visibility they craved, but upon meeting Indiana transplants Izzy Stradlin and Axl Rose, the five flirted with the idea of combining their forces, until finally Guns N' Roses became a reality in 1985.
After a self-released EP gained them more attention in the Los Angeles area, Geffen Records signed them for an album in 1986. The result, Appetite for Destruction, would be one of the most important rock records ever released, although it would be hard to tell from the initial impact. The album floundered at first, McKagan even considered going back to Seattle, until "Welcome to the Jungle" became a runaway hit. The band instantly became a huge sensation, and the media ate up their bad boy reputation and incredible live performances. The whole band let fame get to them, but no member took it as seriously as Axl Rose, who began to shake up the band with his increasingly controversial statements to the media and erratic behavior. Things became serious during the release of the Lies EP, which featured a racist rant in the song "One in a Million" that McKagan and Slash both spoke out against in the press. Rose slowly continued to dominate the band, driving out Adler and Stradlin and replacing them with less vocal contributors Matt Sorum and Gilby Clarke. Ironically, McKagan and Slash bonded with these two members strongly, making the distance between Rose and the other members only larger. When the band hit the road for the endless Use Your Illusion tour, the backstage decadence and wild spending became ridiculous, as opening bands would report to the press about orgies and pig roasts.
McKagan was disillusioned with the music he was making, and after contributing songs to Iggy Pop's Brick by Brick, he tried his hand at a solo album. His drinking had gotten wildly out of control, and the resulting Believe in Me was a disjointed and awkward effort that failed to spark the public's interest. When the tour ended, McKagan discovered that his pancreas was in such terrible shape that he had to immediately give up drinking or face almost-certain death. After a cover of the Rolling Stones' "Sympathy for the Devil," the band separated to take time away from one another. Thinking that Guns N' Roses was just taking a break, McKagan started working with Slash on the Slash's Snakepit project along with the other members of Guns N' Roses, except for Rose. Sessions for a new Guns N' Roses album continually fell apart, and McKagan started working with the Neurotic Outsiders and several solo projects from fellow- and former-Guns N' Roses members. As the years began to tick away, Rose finally sent news to the remaining members of the band that they had to stop working on other projects or they were going to be fired. That was the final straw for McKagan, as he separated from the band and joined Seattle punk rockers Ten Minute Warning, a band he had played in almost 15 years before.
Since that point, McKagan has continued to release solo projects, perform with his fellow Guns N' Roses outcasts, and was married for the third time. He even had his first child in 1999, and managed to get acting jobs on television. He ran a marathon in 2001, right before reuniting with Izzy Stradlin for a tour of Japan. The likelihood of the original Guns N' Roses reuniting looks slimmer every year, but even his brief time with that band will forever give McKagan the notoriety that has made him one of the most recognizable bassists in rock music.
Duffy, Billy: Billy Duffy's guitar heroics have influenced several generations of musicians from opposite sides of the music world. On one hand, Duffy's swirling, psychedelic riffs on early records by the Cult provided a blueprint for gothic rock guitarists; however, when the Cult began to embrace hard rock, heavy metal enthusiasts discovered a new axeman to idolize. But Duffy's rock roots aren't in goth or metal; it was punk.
In 1977, Duffy was in the punk band the Nosebleeds with future Smiths leader Morrissey. The Nosebleeds were short-lived; they disbanded after a few gigs. Afterward, Duffy drifted through a series of groups such as Slaughter and the Dogs, Studio Sweethearts, and Lonesome No More before joining the Theatre of Hate in 1981, releasing an LP called He Who Dares Wins. In 1982, the Theatre of Hate split up; a year later, Duffy joined Death Cult with vocalist Ian Astbury, Ray Mondo (drummer), and James Stewart (bassist). Death Cult was shortened to the Cult in 1984. While Duffy's work with the Cult on their first two albums, Dreamtime and Love, flirted with goth and '60s psychedelia, he unleashed his affection for AC/DC and Led Zeppelin on the Cult's Electric and Sonic Temple. After the Cult broke up in 1995, Duffy had a short stint with Vent 414 and collaborated with former Alarm vocalist Mike Peters on Colorsound, releasing one self-titled album. In 2000, Duffy and Astbury resurrected the Cult.
Lynch, George: One of the most popular guitarists to emerge from '80s-era heavy metal was Dokken's George Lynch. With an arsenal of snazzy-looking guitars and speedy solos, Lynch helped propel Dokken toward the top of the charts for a spell (before interband tension broke up the group), and later, launched a solo career. Although born in Spokane, WA, on September 28, 1954, Lynch was raised in Sacramento, CA, where he took up the guitar as a teenager. Influenced by the likes of Jimi Hendrix, Leslie West, Jeff Beck, and Allan Holdsworth, Lynch played the L.A. club circuit throughout the '70s, including gigs with such forgotten acts as Sergeant Rocks, Xciter, and the Boyz. It was as a member of the latter band that Lynch met drummer Mick Brown and singer Don Dokken, which led to the formation of Dokken by the early '80s. With a sound akin to a more melodic Van Halen (and their lyrics ofttimes dealing with the subject of heartbreak), Dokken issued their debut recording, Breaking the Chains, in 1982, first through the European label Carerre before Elektra signed the group and reissued the album in the U.S. Although Ratt bassist Juan Croucier played on the album, newcomer Jeff Pilson became a permanent member soon after. Two back-to-back gold certified albums followed, 1984's Tooth and Nail and 1985's Under Lock and Key, as Dokken became one of hard rock's most promising young bands. It was also during this time that Lynch began receiving recognition for his six-string skills. With Randy Rhoads deceased and Eddie Van Halen focusing more on songwriting than shredding, guitar slingers were looking for a new hero by the mid-'80s, and Lynch fit the bill -- as he received countless accolades and appearances at the top of polls in guitar magazines. Lynch also became known for his interesting-looking instruments, especially one carved into the shape of a mangled skeleton (a long and fruitful relationship with the ESP guitar company also began around this time).But with major breakthrough success beckoning, Dokken seemed to come apart at the seams. It was no secret that Lynch and Dokken never saw eye to eye, and their shaky relationship only worsened during the tour in support of 1987's platinum hit, Back for the Attack (an album which included the Lynch guitar showcase "Mr. Scary"
. Even a slot on 1988's much-hyped Monsters of Rock U.S. tour (which also included Van Halen, the Scorpions, Metallica, etc.) couldn't save the sinking Dokken ship, as the group announced their split shortly after the tour's completion. After an obligatory live album, Beast From the East, was issued, Lynch opted to form a new outfit, the Lynch Mob, instead of what many fans hoped for -- a guitar-shredding solo album. Joining Lynch in the new outfit was singer Oni Logan, bassist Anthony Esposito, and former Dokken drummer Jones, who issued their debut album, Wicked Sensation, in 1990. While the album performed respectfully on the charts, the group's sound was almost a carbon copy of Dokken's and failed to break the group commercially. Throughout the early '90s, Lynch issued another release under the Lynch Mob name (1992's self-titled sophomore effort) and as a solo artist (1993's Sacred Groove), the latter of which Lynch originally planned on inviting such singers as Phil Anselmo and Chris Cornell to guest on, but wound up settling on Matthew and Gunnar Nelson (!), among others. With both Lynch and Dokken's separate careers not what they once were, the singer and the guitarist settled their differences at the behest of their record company, as the Lynch-Dokken-Brown-Pilson lineup of Dokken reunited in 1994. An "unplugged" album/home video followed a year later, One Live Night, but old habits were hard to break, as Dokken and Lynch butted heads once again trying to settle on a musical direction on such subsequent lackluster studio albums as 1995's Dysfunctional and 1997's Shadowlife. Both albums failed to return Dokken back to the top of the charts, as Lynch left the group once more shortly thereafter. The late '90s/early 21st century saw Lynch alternate between issuing albums with the Lynch Mob (with varying members) and as a solo artist -- resulting in such further titles as 1999's Smoke This, 2001's Will Play for Food, 2002's holiday recording The Lynch That Stole Riffness, and 2003's Wicked Underground, the latter of which saw Lynch reunite with ex-Dokken bassist Pilson. In addition to releasing albums and touring, Lynch has been known to perform at guitar clinics and instrument expos (especially NAMM), has developed his own signature guitar series with ESP, and, as evidenced on an episode of VH1's Where Are They Now? program, has become an avid body builder.
**********************************************
A new twist on the well-worn tribute album concept, Humanary Stew?: A Tribute to Alice Cooper assembles a series of all-star, one-off "supergroups" -- a different lineup on each track -- for run-throughs of staples from the Cooper catalog. Big names from superstar acts mingle with journeyman players, most of whom will nevertheless be familiar to ardent hard rock fans. Like any tribute album, the results are uneven, but the novel approach will definitely hold interested listeners' attention. At times, the producers play it safe when teaming up the various musicians; bands contributing more than one member to a particular song include Motley Crue (Vince Neil and Mick Mars), Iron Maiden (Bruce Dickinson and Adrian Smith), Def Leppard (Joe Elliott and Phil Collen) and Megadeth (Dave Mustaine and Marty Friedman). The songs holding the most intrigue, though, are those with the farthest-ranging matchups -- for example, the Who's Roger Daltrey belts out "No More Mr. Nice Guy" with guitar backup from Slash, while former Guns N' Roses rhythm section Duff McKagan and Matt Sorum supports the guitar team of Steve Jones (the Sex Pistols) and Billy Duffy (the Cult) on "Elected." Other featured musicians include Ronnie James Dio ("Welcome to My Nightmare"
, George Lynch ("Billion Dollar Babies", Dee Snider ("Go to Hell" and Don Dokken ("Eighteen".
**********************************************
1 - Under My Wheels Joe Elliott 3:20
2 - School's Out Dave Mustaine 3:58
3 - No More Mr. Nice Guy Roger Daltrey 3:38
4 - Welcome to My Nightmare Dio, Ronnie James 5:10
5 - Cold Ethyl Vince Neil 4:02
6 - Black Widow Bruce Dickinson 4:46
7 - Go to Hell Dee Snider 4:34
8 - Billion Dollar Babies Phil Lewis 3:56
9 - Only Woman Bleed Glenn Hughes 5:42
10 - Eighteen Don Dokken 5:09
11 - Elected Steve Jones ... 3:59
Opciones
Post Relacionados
- Tenacious D: The Pick of Destiny (2006)
- Temple Of The Dog: Hunger Strike (EP) (1991)
- The Jimi Hendrix Experience - Axis: Bold As Love
- Vertigo - Vertigo II 2006
- Bowie, David - 1973 - Aladdin Sane (2CD)
- Luis Alberto Spinetta - Kamikaze
- The Doors - Live in Toronto
- The Who - BBC Sesions (1965-1973)
- The Doors - Strange Days (1967)
- Jimi Hendrix - War Heroes (1972)
Información del post
10 Puntos
0 Favoritos
1964 Visitas
Creado el: 09.02.2008 a las 19:01:26 hs.
Categoría: Música
Tags: Hard Rock, Heavy Metal, rock & roll, pop-rock, fusion, guitar virtuoso, rock
Agregar a:
#1 -
Galeote
| 09.02.2008 19:01:49 dijo:
b!
#2 - cantropus | 09.02.2008 21:14:05 dijo:
quizás este disco tributo pasaría a ser uno más si no fuera por la extraordinaria versión de "Only Woman Bleed" a cargo del excelentísimo GLENN HUGHES. Ese tema, a mi entender, justifica la edición de este CD.
#3 - Morley | 18.02.2008 07:40:41 dijo:
Hola men! buen post!! no tenes otros tributos a Cooper?
Ando buscando el "Mutations" y el "Thinking" (este ultimo en una calidad superior a los 128k)
Te tiro un 10 por este post aunque ya lo tengo.
Hay una re-edicion de este disco, con tapa roja y 3 bonus, temas de Children Of Bodom, Icarus y otra banda mas que no recuerdo.
SALU2
b!
#2 - cantropus | 09.02.2008 21:14:05 dijo:
quizás este disco tributo pasaría a ser uno más si no fuera por la extraordinaria versión de "Only Woman Bleed" a cargo del excelentísimo GLENN HUGHES. Ese tema, a mi entender, justifica la edición de este CD.
#3 - Morley | 18.02.2008 07:40:41 dijo:
Hola men! buen post!! no tenes otros tributos a Cooper?
Ando buscando el "Mutations" y el "Thinking" (este ultimo en una calidad superior a los 128k)
Te tiro un 10 por este post aunque ya lo tengo.
Hay una re-edicion de este disco, con tapa roja y 3 bonus, temas de Children Of Bodom, Icarus y otra banda mas que no recuerdo.
SALU2
