Universal Sunset Strip heavy metal humorists Steel Panther are about to blast fans in the face with the awesome concert film ‘British Invasion.’ Steel Panther lovers have been anxiously awaiting the ‘British Invasion’ DVD, which took the band over two years to film, as they began the project in March 2010. Graciously giving fans a sneak preview of the film, Steel Panther are unleashed live footage from the song ‘Fat Girl,’ exclusively through Loudwire. The tale of ‘Fat Girl’ has taken many forms, as the inspiration for the song has been attributed various members of Steel Panther over the years. Whether the ‘Fat Girl’ stigma falls upon vocalist Michael Starr, drummer Stix Zadinia, or any other Panther, the band boasts a bitchin’ track that leaves many singing along while hazily remember a night of questionable choices. ‘British Invasion’ was directed and produced by Daniel E. Catullo III ( Rush , Nickelback , Godsmack ) and an official website for the new DVD has been launched by the band. The film contains a documentary, full concert performance and a 16-page color book, and fans who pre-order the film will also receive a limited edition autographed poster. ‘Steel Panther: British Invasion, which is also available on Blu-ray, hits stores in North America on Oct. 30. What the hell are you waiting for?! Check out Steel Panther’s exclusive performance of ‘Fat Girl’ in the player below and be sure to grab a copy of ‘British Invasion.’ Watch Steel Panther, ‘Fat Girl’ From ‘British Invasion’ [Exclusive to Loudwire] ‘Steel Panther – British Invasion’ Track Listing 1. ‘Eyes of a Panther’ 2. ‘Eatin’ Ain’t Cheatin” 3. ‘Fat Girl’ 4. ‘Hair Solo’ 5. ‘Party All Day’ 6. ‘Hell’s on Fire’ 7. ‘Stripper Girl’ 8. ‘Asian Hooker’ 9. ‘Turn Out the Lights’ 10. ‘Girl From Oklahoma’ (featuring Corey Taylor) 11. ‘We Want Pussy’ 12. ‘Community Property’ 13. ‘The Shocker’ 14. ‘Death to All But Metal Bonus Disc 1. Documentary 2. ‘Supersonic Sec Machine’ (Download 2012) 3. ‘Community Property’ (Download 2012) 4. ‘Just Like Tiger Woods’ (Download 2012) 5. ’17 Girls in a Row’ (Download 2012) 6. ‘Death to All But Metal’ (Download 2012)
Mary Ouellette, SheWillShootYou.com 3 Doors Down are gearing up to release their ‘The Greatest Hits’ collection on Nov. 19. The ‘Best Of’ compilation features nine of their number one hits throughout their massively successful career. In addition to the hits, the band crafted three new bonus tracks for fans to feast on, including ‘One Light,’ one of their most inspirational songs to date. The track made its debut at the Republican National Convention when the band performed it live. With lyrics like: “ So come with me / Let’s take this world and make a change / And we’ll give this more than we can take away ,” the tune seems to lends itself perfectly to the upcoming election, but frontman Brad Arnold said the song is much bigger than that. First and foremost Arnold said that the song, at its core, is not politically motivated. He explained, “I’ve never been political at all and I never will be, but the song really does apply, and it applies to either side.” The message the song delivers is a lot larger than any one political party though. “It’s a message to people, essentially young people, a call to come with me, and take our world and make a change,” Arnold said. “It does relate to the election, but it’s so much more than that because the song is really about giving back to the world more than you take from it.” Arnold and 3 Doors Down hope the song will help spread their inspirational message. “If everybody had that attitude, we’d live in a perfect world,” states Arnold. “I really hope that that song does inspire somebody to take their school and make a change for the better, to just find a problem and be that one light to shine for other people.” Tune in next week for our full interview with 3 Doors Down frontman Brad Arnold. [button href=”http://loudwire.com/3-doors-down-free-download-new-single-one-light/” title=” 3 Doors Down Offer Free Download of New Single ‘One Light’” align=”center”]
Rat Pak Records There’s just no denying musical chemistry, and the members of T&N found that out very quickly after several years of not playing together. Former Dokken guitarist George Lynch initially reached out to ex-Dokken bassist Jeff Pilson to contribute to his Lynch Mob record, but it didn’t take long before the pair realized that the music was meant for something else. At the insistence of drummer Brian Tichy, who is also part of the band, the group called up another former bandmate, Dokken’s drummer “Wild” Mick Brown,’ and the full T&N lineup was complete. With T&N set, the group started providing a mixture of new songs and re-recorded versions of older Dokken favorites with a variety of guest vocalists ( Sebastian Bach , King’s X’s Doug Pinnick, Tim “Ripper” Owens and Warrant ‘s Robert Mason) with the end result being their new ‘Slave to the Empire’ album, due Oct. 31. Pilson, who also sings on the album, spoke with Loudwire about what it was like reuniting with his onetime bandmates, how T&N took their music in a more humanistic direction, and about the band’s current relationship with Don Dokken. You have such a storied past working together, but in some ways this is essentially a new project. Can you talk about what it was like with the three of you back in the studio together for the first time and how it varied, if at all, from your process of working on past records? When George, Mick and I got in the studio together, it felt very much like what we’ve come to know and love about working together. I’d say the biggest difference now is that we play better, and really know how to get the sounds and performances we’re looking for. We’re quite confident in our abilities and that makes it a lot of fun. This was a little different in that the songs we did with Mick were written a long time ago, but we got to add little elements that made it feel fresh. It couldn’t have been more fun or productive. At what point was it decided to mix in some re-recorded Dokken material along with some original songs and how do they flow together on this disc? Once the music to the original songs was recorded and we had an idea that we’d finish them for, what became, T&N, Brian (Tichy) suggested we call Mick and redo some Dokken songs. We loved the idea cuz it really helps to tie the new music in with our legacy together. As for how it flows, so far the response has been amazing. The fans will be the ultimate judge of that. But it’s great because we were able to do the Dokken songs a little closer to how we had always pictured them, which was a little tougher, more raw. They still have many of the elements, harmonies, guitar production, etc., but not drowning in reverb like records were back then. It makes it all a little more in your face and the grooves really come alive that way. Plus the little additions we made to the Dokken songs help make them relate to the new music cuz they reflect where we are today. I’m so happy how it all came out and to see so many fans reacting positively is very rewarding. Did you have a list of who you wanted for guest vocalists and how close was that list to who actually appears on the songs? Which guest surprised you the most with what they brought to the table during recording? We just started calling friends who we knew were great and who we thought could really bring something special to Dokken material. We knew we didn’t want to get too far away from the original recordings, but wanted each guy to bring their unique gifts to the performances. So not every singer would work in that scenario. But they all impressed us so much. Doug [Pinnick]‘s take on ‘ Tooth and Nail ‘ is outstanding. His feel and delivery are unparalleled. We were always fans so it was a blast watching him record. Sebastian [Bach]‘s ‘Alone Again’ still brings a tear to my eye every time. In some ways his version stayed truer to the original melody than any of the other ones — but that was his call. He didn’t want to tamper with the melody too much, and that’s a sign of his maturity as an artist. But we did get some “Sebastianisms” out of him and the overall performance is soaking in emotion. He was a joy — and he’s a nut as well!!! That was fun. Robert [Mason] nailed ‘It’s Not Love’ with incredible power and vibe — what a voice! He’s a world-class singer and it really shows on his performance. Ripper [Owens] was truly crazy, which is great! His screams are so sick. I love it! All I can say is we have a lot to top on record 2!!!!!! ‘Slave to the Empire’ definitely gives you the platform to express yourself. Can you talk about the writing process and deciding what messages you wanted to address with the original songs? George and my writing process has changed very little over the years. Even in the early days we could always read each others’ minds, but it’s even more so now. As soon as we realized this record was not going to be a Lynch Mob record we decided we wanted the songs to have a social conscience. We don’t really want it to be perceived as political — but humanistic. We both see a very lopsided world out there, where those who “have” are getting a bigger and bigger slice of the pie, and it’s hard working folks who are paying the price. But we’re both optimistic that the power to change, grow and improve lies with the people, if they make their voices heard. So we’re just one voice out there, but we have big old amps so we can be a very loud voice!!!! With the album complete, what songs are most resonating with you after having a little bit of distance from recording and can you talk about why they stand out to you? That’s always a tough question, a little like which one of your children do you like most these days??!! But I will have to say that of the new material, the ones that resonate for me most are ‘ Slave to the Empire ,’ cuz the message is core to us and George’s solo is genius. ‘Sweet Unknown,’ just cuz I love the sound of it and when the chorus kicks in I get goose bumps. ‘When Eagles Die’ is very close to me. I love all the textures and changes in it and George’s solo is one of his finest ever. I felt very “purged” after we finished that one. We got to express a lot in that song. Then there’s ‘ Access Denied ,’ which turned out to be a very cool and interesting song. It probably changed the most, melodically and lyrically, during the writing. We got a bit stuck so we brought in Brian (Tichy), who had some great ideas for it. And I love how the song ends, but then again, I’m a bit eccentric! Coincidentally, Dokken released a new album this fall, as well. What’s your current relationship with Don Dokken? Have you spoken to him about the T & N project? My relationship with Don is great these days, although it’s mostly by email. We did put in a message to him, via Wild Mick, that we’d love to have him sing on T&N, but understandably he wasn’t into that. I mean the minute you add Don it becomes Dokken, so it gets complicated, and we all get that. T&N is really a chance for us to be creative together outside of Dokken. That doesn’t take anything away from Dokken’s legacy and this isn’t us versus them! It’s just the simple fact that even after nearly 30 years together, George Lynch and I love to make music with each other, we love to work with Brian and Mick and we’re in a position where we can and do. How cool is that? To pre-order the T&N album, ‘Slave to the Empire,’ check here .
Photo Credit: Jordan Goldstein Before Pig Destroyer took the stage at their recent Brooklyn, N.Y. show, there were three opening acts to warm up the eager crowd. Of the three, San Francisco metal band Early Graves delivered the most memorable performance, taking the stage with an unrelenting, blasphemed assault. Shortly after the release of Early Graves’ second full-length album, ‘Goner,’ vocalist Makh Daniels was killed in a tragic van accident. With the band’s booming and lyrically skillful singer deceased, fans mourned while questioning the future of Early Graves, as did the band. However, on a Thursday night in Brooklyn, Early Graves put those queries to rest, delivering an incredibly sturdy performance with new vocalist Josh Strachan. After the band’s set, we spoke with guitarist Chris Brock to discuss the band’s newest album, ‘Red Horse,’ what the future holds for Early Graves + much more. When you went to write and record your new album ‘Red Horse,’ how did that feel going back into the studio without Makh Daniels? Going in to write music again was difficult. We had to lick our wounds physically and not physically, but you just do it and you play guitar and you play drums and you start to write. I do this band because I have to do it, I don’t do it because I just want to be in a band or something, I like to play riffs and I like to play music loud so that’s why I do it, so there was never any question that I was going to play for myself or that I was going to want to play with Dan or Matt or Tyler. As far as the actual recording studio, it was a little strange because we recorded with the same guy that did our previous record, ‘Goner,’ with Makh. By that point, it had already been almost two years. In fact, we finished recording the record two years to the date that Makh died, but there wasn’t any sort of weirdness about that. We told stories and s–t but it wasn’t weird. The whole situation is just so bizarre because in ‘Goner’ a lot of the lyrics are about death and suicidal thoughts. Do you feel like ‘Goner’ hits the fans harder now since Makh died? I think that’s maybe looking into it too much. The name Early Graves and the album ‘Goner,’ songs like ‘Mayday’ and ‘Trauma’ and ‘Give Up’ … I’m not a superstitious person but I’ve never looked at it like that. Maybe somebody else in the band has but I don’t believe in any sort of ‘supposed to happen’ or ‘meant to happen’ or anything like that. If people do look into that, it’s fascinating that they would think there’s connections between Makh dying and the song titles and the lyrics, but Makh didn’t foresee his death, no one did. More on the lyrical side, I know for me, I heard ‘Goner’ and I loved the record, but then after Makh died, a big change happened; it shifted. I already had that love for the record, but when that happened, I put the record on and it hit me like a ton of bricks. Yeah, I can most certainly see why with all the dark s–t that happened, but such is life, I guess. Well, I’m glad you guys kept going. Was there ever a point where you thought this band was not going to exist anymore? Yeah, certainly. I mean, Makh is very difficult to replace as a contributing member of the band; that goes without saying, but he’s also our friend, so it was hard to imagine, outside of his contributions as a band mate, it was hard to imagine being in a band without him. It’s kind of like I said earlier, it’s one of those things where you kind of wake up one day and you do the things that you did before the accident, you know? You have to do the things that you did before because otherwise you’ll find yourself stuck in this weird paralysis of life and I don’t want to be afraid of that kind of stuff, so being in this band, I don’t wanna be afraid to play music because something really terrible happened. Both you and your new vocalist are members of the Funeral Pyre. Are there any updates with that band at the moment? We’re writing a new album as well; it didn’t get put to the back burner or anything like that. The other dudes are actually still working on songs while I do Early Graves and John does Early Graves. We also do Funeral Pyre at home. We did a tour last year, shortly after our accident because they were in the van as well. We just did a tour with the Secret and that was good. We’re just writing a record and doing that whole thing. You guys mentioned onstage that you drove all the way from Arkansas to New York just to be a part of this Pig Destroyer show. Was two days worth of driving worth the 30 minutes of stage time? Oh yeah. I mean, if you would have told me 10 years ago that I was going to play with Pig Destroyer in New York and it was going to be a sold out show and my band would be playing, I would have told you you’re a liar, so it’s worth it. The show was great and New York’s always been great to us. I love playing here. Does Pig Destroyer influence you guys at all? Certainly, I mean, when you think of pinnacle grind bands, they’re definitely up there. Obviously, you know, Napalm Death and all the other stuff too, but Pig Destroyer are great and they’re one of the heaviest grind bands. They’re not just fast, they’re also really heavy and they have groove, so certainly they’re an influence. ‘Red Horse’ sounds very different than ‘Goner.’ What was the mindset of getting away from a cleaner sound to something more dirty and raw? The songs call for it. If we ever wrote an album that didn’t call for it, we would maybe record a little bit cleaner, but the songs are dirty songs and they need to sound filthy. We never went into the studio and said something to the effect of, ‘Can you make this sound dirtier?’ It’s just that the riffs lended themselves to this, and not just the riffs, all of it did; the bass, the guitar, the drums … all of it did. To purchase Early Graves’ new album, ‘Red Horse,’ click here . Listen to Early Graves, ‘Red Horse’ (Song)
Tooth & Nail Love and Death , the band led by former Korn guitarist Brian “Head” Welch , are set to drop their new album ‘Between Here & Lost’ on Nov. 19, and Loudwire is proud to bring you the exclusive premiere of the new song ‘The Abandoning.’ With the new track, it’s clear that Welch and his new crew can still deliver the aggressiveness and hard-hitting vibe that he had in Korn and pack the song with an emotional punch. With lyrics like, “ Why do I hurt myself / Why can’t I escape this hell / I am always blaming, always chasing broken dreams / I keep screaming out but no one ever hears me ,” it’s clear that the story is coming from someone dealing with inner turmoil. Head says of the track, “I like ‘The Abandoning’ because the chorus goes somewhere you wouldn’t think it would go. It’s really dark and then it opens up very melodic.” As you can tell by listening, Welch has found a musical home after going it solo following his exit from Korn. The current lineup that includes guitarist J.R. Bareis, bassist Michael Valentine, and drummer Dan Johnson really helped the guitarist see his vision to its full fruition while adding their own stamp to the music. Welch also credits producer Jasen Rauch, who also plays in the band RED, for his input into the new music. “One of the biggest changes on this album is that we connected with a great producer,” states Welch. “With my first solo album, I wanted to oversee everything myself to see if I could do this type of thing. I think some of it was experimenting and some of it was just pride, but a band really needs someone who can produce an album to make the material the best it can be. That’s what producers are there for, so that was the biggest thing, just bringing Jasen into the fold.” You can find ‘The Abandoning’ on the ‘Between Here & Lost’ album, which arrives Nov. 19. Pre-order the CD on its own or packaged in a T-shirt bundle here . Both versions come with an instant download of ‘The Abandoning.’ Listen to Love and Death’s ‘The Abandoning’ ? Tooth & Nail [button href=”http://loudwire.com/brian-head-welch-in-depth-onstage-korn-reunion/” title=”Next: Brian ‘Head’ Welch Talks Recent Onstage Reunion With Korn” align=”center”]
Facebook: While She Sleeps UK act While She Sleeps are ready to break in America after winning Kerrang’s Best Newcomer Award . Now, in addition to getting to know the band, you can win a signed copy of While She Sleeps’ ‘This Is the Six’ album, as well as a bunch of other great items from the group’s label, The End Records. Included in the bundle is a Skull t-shirt, a Paradise Lost box set, a Cradle of Filth box set, two The End Records beer cozies, an AxeWound flat, an Audio Bullys bag, a “Here’s the Metal” hot sauce, and, of course, the While She Sleeps ‘This Is the Six’ signed CD. To learn a little more about While She Sleeps, check out our interview with the band, and then enter your details in the contest box at the bottom of the story for a chance to win The End Records Bundle Contest. We spoke with While She Sleeps guitarist Sean Long, who discussed the significance of their new album title, how they’re differentiating themselves from their peers, and what it was like to win the Kerrang award at such an early stage in their career. The title track, ‘This Is the Six,’ definitely has a special meaning for the band. Can you talk about where it comes from and if it was the obvious choice to be the first song heard off this record? It’s really hard to find an album title that is original and means something to you, we are really happy we landed on ‘This Is the Six.’ It basically means that we are the 5 and 6th member of the band is the crowd, our fans, anyone who has supported us in anyway, they are the six. So together we are part of the same this, THIS IS THE SIX! Guitarist Mat Welsh has stated that the band wants ‘This Is the Six’ to be an album that people grow up on? What were the qualities that drew you to the bands you listened to growing up and do you feel this album captures that, as well? Just music that stands out to me, I am a big fan of note selection. I believe the slightest change in note selection can change how you feel instantly so picking the right note for a certain song is very important. I really hope we have captured that because there are notes on that album that make me feel great and I get a feeling in my stomach that makes me love music. While She Sleeps have gotten some credit for thinking outside of the box in terms of their sound. What’s your take on the music scene and how do you differentiate yourself from other acts? I guess we just try our hardest to be different inside of all the music we love. I believe that all the music we listen to, which ranges from folk to metal, is captured in our music even without us knowing. You have a hard-rocking sound and there’s definitely a punk ethic to how the band addresses lyrical content. How much do you value having the platform to discuss things like politics, patriotism, and issues affecting the youth in your songs? I’d like to say at least we are singing about things that are real and that we are living in, things we all have experienced and about our lives as friends. The more people who like our band, the bigger voice we will have to let everyone know our opinions and join us! What are a few of your favorite songs off the record and can you discuss why they stand out to you? If I picked one I’d be lying to myself. I honestly love them all so much. We all really surprised ourselves with this so we listen to it like another band. Haha, but why not you know, we are very proud of it and love what we have created. What did winning the Kerrang Best Newcomer Award mean to you this early in your career? You have no idea. I cried for a start and I rarely cry. It just felt so amazing to know that what we are doing is real and people are actually agreeing with what we are doing. It was the best day of my life for sure! Fans wishing to check out While She Sleeps’ ‘This Is The Six’ album can currently pre-order the effort here . To enter to win a signed copy of the disc, along with items from Audio Bullys, AxeWound, Paradise Lost, Cradle of Filth and more as part of The End Record contest bundle, be sure to enter your information in the box provided below: While She Sleeps + The End Records Giveaway Enter your e-mail address for a chance to win a singed copy of While She Sleeps’ ‘This Is the Six’ CD plus a Skull t-shirt, a Paradise Lost box set, a Cradle of Filth box set, two The End Records beer cozies, an AxeWound flat, an Audio Bullys bag, a “Here’s the Metal” hot sauce. Contest ends Nov. 19, 2012. Click here for official rules . By entering this contest, you will receive email newsletters from Loudwire. You may unsubscribe at any time. Email Watch While She Sleeps’ ‘This Is the Six’ Video
Photo by Jimmy Hubbard It’s been nearly three months since progressive rock leaders Baroness were involved in a catastrophic and gruesome bus accident. After the breaks on the group’s bus failed to work, the band plummeted 30 feet into a wooded area at a speed of around 50mph. Although serious injuries were sustained, all of the bus’s passengers survived and are nursing themselves back to health. In a great honor here at Loudwire, Baroness frontman John Baizley offered us his very first interview since the crash, discussing in great detail how the incident changed his life. In this three-part interview, where we spoke to Baizley for nearly an hour, the musician opens up about the crash itself, his current physical condition, when the band will tour once again + much, much more. Read Part 1 of our John Baizley interview below: We’ve all heard that the bus crash left you with very debilitating injuries. You’ve just started picking up a guitar again and you wrote that incredible recollection of what happened. Since you weren’t able to pick up a guitar for a little while, I’d think that it’s left a little bit of a creative gap in you. So writing the recollection of that crash, was that somewhat of a creative catharsis for you? Yeah, in a way. It’s a far cry from writing full songs and really jumping back into art, but when I was first put in the hospital and had to go through surgery, I was just on my back and it was hard for me to sit up. The one thing that I did have the ability to do was use my right hand and I started very early on, very quickly after the crash, just typing really or texting, whatever I was able to do with those fingers to keep in touch with my friends and the people that I needed or wanted to have access with. Shortly thereafter I discovered that being able to articulate the experience, either verbally or on paper, was quite nice for my mental state. I won’t say cathartic because that would seem to denote that at the end of it, I feel better or that I purged with it. I guess over time it’s a slow purging. But yeah, I discovered some sort of therapy through putting my thoughts down on paper in a different way than I’m accustomed to. The tools in my trade are typically songs and images, so now I’m trying to keep them a verbal thing. It’s a new thing for me but it’s actually been quite good for me. It was strangely beautiful, that memoir . I think it connected with a lot of people and you mentioned that you only recently have been able to pick up a guitar again and you still struggle with some pain when playing. Could you elaborate on what that pain is actually like? I’ve been probably living with it now for close to seven weeks. It’s a physical pain, it’s a corporeal pain that won’t go away and of course when it initially happened, I was in real need of heavy medication. Since then, the trick has been to sort of get away from it, so I’m still not quite so far away from the injury that I’m without pain. There’s a 16, 17-inch scar going down my arm that hasn’t healed yet. There’s a small army of metal pieces inside which are not only helping keeping me together but also beginning to react with the organic parts of my body, and at the same time, it’s important for me to get to know the nature of my injuries so that I am as mobile as I possibly can be. I’m trying to move what doesn’t want to be moved and all the while I’m trying to heal. There’s that pain from the injury and along with that severely extensive nerve damage, basically from all the way up from my shoulder down to my fingertips. Playing music is like a different thing, you know? Now there’s a rehabilitative quality to what I’m doing because I essentially had all of the musculature and all of the nervous system removed from my arm for eight hours during the surgery and once it was replaced, you’re dealing with scar tissue and you’re dealing with some parts which aren’t going to work again. There’s a swash of skin down the middle of my arm; basically the top half of my arm doesn’t have physical feeling to it anymore. When I first came out of surgery, there was very, very extreme and incredibly painful pins and needles in my hand, which scared me at first. I said to myself, ‘Oh god what if this lasts forever? What if everything I touch hurts?’ Fortunately, the nerves in my hand are going to work again correctly but the interesting thing is I have to teach the nerve endings how to feel certain things. Textures are quite alien to me at this point. It took me a week to tell the difference between wood and cloth and to pick up my guitar and being able to do that. To my utmost surprise, my fingers were able to play and there was still a ton of muscle memory that was really left in them. They were articulate despite the absence of muscle in my arm, which is almost total. My fingers which require very little musculature; my fingers could do what they’ve always done with a guitar. It was remarkable, it was super surprising. I put it like this; I was stuck in the UK for like six-and-a-half weeks, and when I got home I went back to my studio and there was a guitar hanging on the wall and I was just sitting there looking at it for a full day trying to build up the will and energy and confidence to pick it up and touch it. To me, even at that time, it represented something more than just a guitar. The moment that I picked it up I was going to assess exactly where I was and exactly how much work I had ahead of me to get back to being normal, or whatever the new normal is. Like I said, to my surprise I put it on my lap and was instantly able to play. At first, it was country music; just simple chords, and then within three or four days my fingers were able to stretch out. After five days I was able to play all of our songs and at the end of the week, I had written three songs. So it was very quick and I think it’s an incredible tool for me given the very specific nature of my injuries. Having this tool is not only good physically for my arm, but also a positive thing for me mentally and a constructive thing for me spiritually. It’s like, here’s a tool to help me get back anything I could do with my hands. I’ve begun making art again and I started writing a lot more songs, so all of these things are sort of, multifaceted tools to express myself and to heal myself and to get right with myself by engaging. But, as you said initially, it doesn’t come without pain. I think that one of the big lessons through this process for me is that I’ve been broken down to the basic physical functions of a two-year-old and since the accident I’ve been trying to reclaim myself from all directions and it doesn’t happen without pain. I’m still waiting, it’s still just so fresh for me, I’m just waiting for the first moment of my life where just sitting here doesn’t hurt. It’s actually not that bad because if you’re sore all the time or if you’re in pain all the time, then adding a little bit doesn’t freak you out at all. So what I’m doing is I’m being very aggressive with my rehabilitation. My therapists keep asking me ‘Does it hurt when I do that?’ and my answer is, ‘Yes, but it hurt before you started doing it, so just lets get back together.’ [Laughs] I’m not the sort of person that likes sitting around. I don’t see the benefits in having the time-off aspect of this. I see this as another challenge for me this year and one in which I’m fully equipped to deal with even though it’s certainly been intense. It’s really been traumatic and it’s certainly become something that will define this year, if not this section of my life, but because of that, I think it’s very important not to let it be all negative. Yeah, I was in a crash and that’s bad. I got banged up, broken — that’s bad. There’s nothing good about that, but you can learn something through it, like anything. Like any mistake that’s made or any injury to a person, you could take something from it and use it to make yourself better. With this thing in particular, because it’s touched me on so many different levels, it’s allowing me to regain perspective and regain motivation and reaffirm my ideas and my passions and become, if nothing else, more confident, more resolute in the choices that I’ve made in my life in the fact that I’ve dedicated myself to music, and as I said in the press statement, this wasn’t the fault of my career path, this wasn’t the fault of my lifestyle. This could have easily happened … it’s that cliche, it could have happened walking out of the house in the morning or could have happened downtown while I was going to see a show or eat dinner. It’s just that what we do in Baroness puts us on the road and on roads very frequently, so it’s certainly part of the risk but it wasn’t something inevitable. It was a fluke, and like all of these things that happen as a fluke or by happenstance, we have to use it. We can use it very easily and in a negative way and become more fearful of leaving the house or fearful of going out on tour or, you know, less secure and sort of paranoid and sad about it, but that has nothing to do with us getting back out. It’s just that something has happened to us and it’s going to take a minute for us to get ready again, but f— it, put me back on the road; that’s what I do. This isn’t the sort of thing that is going to stop that. Please visit Loudwire on Friday, Oct. 19, for Part 2 of the interview, in which Baizley tells us that if his arm injury was any worse, there would have been discussion of amputation, among other revelations. [button href=”http://loudwire.com/tags/baroness/” title=”More Baroness Coverage Here” align=”center”]