Posts Tagged ‘mountain’

Fan Reportedly Tried to Fight Vince Neil After Singer Took a Swing at Him

Ethan Miller, Getty Images During a solo performance in New Mexico, Motley Crue singer Vince Neil appeared to take a swing at an audience member for no discernible reason. In the footage released exclusively by TMZ, there was no context as to what incited the response from Neil, but we’ve now got the back story to go with the video. The Vince Neil incident took place at the Mountain Gods casino in New Mexico, and now a representative for the Casino has reportedly explained the back story to the thrown punch, along with what occurred after the show had concluded. TMZ reports that the concertgoer in question had repeatedly attempted to grab at Vince Neil while he was singing onstage, which led to a fed up Neil taking a swing at him and kicking him out of the show. Interestingly enough, that wasn’t the end of the story. The fan, who was allegedly intoxicated, tried to get some revenge on Neil at the concert after party. “During the post-performance party at the property,” the unnamed casino rep begins, “the intoxicated fan and his group of friends, who were also visibly inebriated, returned and continually attempted to get close to Vince.” Before the fan and his entourage had the chance to reach Neil, they were thrown off the property by casino security. [button href=”” title=”Vince Neil to Star in New Reality Show ‘Vince Neil Escapes'” align=”center”]

10 Best Ozzy Osbourne Solo Songs

Larry Busacca, Getty Images As the ’70s turned into the ’80s, Ozzy Osbourne was trying to figure out his next move after his ousting from Black Sabbath . What he did was embark on a very successful solo career that was lasted more than 30 years. In addition to releasing a number of memorable tunes over the past three decades, Ozzy has selected some virtuoso musicians to record with him, including the incomparable Randy Rhoads and the very talented Zakk Wylde. While Osbourne has reunited with Sabbath on several occasions and is recording a new album with the heavy metal legends, we’re taking a look at some of the best music that Osbourne’s solo career has produced. So, stick with us as we take our “shot in the dark” at counting down the 10 Best Ozzy Osbourne Solo Songs: 10 ‘Over the Mountain’ From: ‘Diary of a Madman’ (1981) If you need some drums to kick your ass, Ozzy Osbourne’s ‘Over the Mountain’ might just do the trick. Lee Kerslake’s furious flurry of beats not only kicks off the song but also offers the opening notes of the ‘Diary of a Madman’ album. The fantastical Osbourne track takes listeners through a dreamland with an invitation to join him on his journey. Listen to ‘Over the Mountain’ 9 ‘Suicide Solution’ From: ‘Blizzard of Ozz’ (1980) ‘Suicide Solution’ may be the most controversial songs Ozzy Osbourne has ever released. Osbourne stated that the song was a tribute to the late Bon Scott, who died of alcohol poisoning, while bassist Bob Daisley who wrote the track says that Osbourne himself, who was struggling with alcoholism, was the inspiration. There was also the matter of the title, which sparked a lawsuit when a depressed teen shot himself. But controversy or not, the song rocks with Randy Rhoads’ chugging guitar and Osbourne’s wail leading the way. Listen to ‘Suicide Solution’ 8 ‘Gets Me Through’ From: ‘Down to Earth’ (2001) What is Ozzy really all about? The singer attempted to clear it up in the 2001 song ‘Gets Me Through,’ which he wrote as a thank you and explanation to his fans. In the song, Osbourne states, “ I’m not the Anti-Christ or the Iron Man ,” thus separating the man from the image. The song itself starts with keyboard before guitarist Zakk Wylde, bassist Robert Trujillo and drummer Mike Bordin grunge up this trudging rocker. Listen to ‘Gets Me Through’ 7 ‘Mr. Crowley’ From: ‘Blizzard of Ozz’ (1980) ‘Mr. Crowley’ is a solid choice for the 10 best Ozzy Osbourne songs as it smoothed the singer’s transition from Black Sabbath frontman to solo artist. Osbourne’s dark side fully intact, the singer created a song about black magic practitioner Aleister Crowley and his sinister ways. The track launches with the distinctive organ solo from Don Airey before the rhythmic rocker kicks in. Listen to ‘Mr. Crowley’ 6 ‘Shot in the Dark’ From: ‘The Ultimate Sin’ (1986) ‘Shot in the Dark’ makes the 10 best Ozzy Osbourne songs as one of the more instantly recognizable tracks of the singer’s career. The catchy mid-’80s rocker was penned by bassist Phil Soussan and altered to Osbourne’s specifications. Easily one of the more radio-friendly songs of the singer’s career, the track does still rock with wailing guitar work from Jake E. Lee and a driving beat laid down by Randy Castillo. Listen to ‘Shot in the Dark’ 5 ‘Flying High Again’ From: ‘Diary of a Madman’ (1981) Osbourne’s affinity for drugs did occasionally find its way into song and ‘Flying High Again’ is a perfect example. In the lyrics, Osbourne shares his concern, stating, “ Mama’s gonna worry / I been a bad, bad boy / No use sayin’ sorry / It’s something I enjoy .” Then rationalizing his behavior, he adds, “ If you could be inside of me / you’d see, you’d see what light I see / flyin’ high again, alright! “ Listen to ‘Flying High Again’ 4 ‘Mama I’m Coming Home’ From: ‘No More Tears’ (1991) Here’s the rare non-rocker on our list of 10 best Ozzy Osbourne songs. But this song was a major hit in the era of the power ballad and its success was all the sweeter for Osbourne as it was a love song to his wife Sharon. The track, co-written with Zakk Wylde and Lemmy Kilmister , was penned about his proposed retirement from music and his return home to his lady love after his support of the album was complete. Listen to ‘Mama I’m Coming Home’ 3 ‘Bark at the Moon’ From: ‘Bark at the Moon’ (1983) ‘Bark at the Moon’ finds Osbourne once again digging into mythical territory for inspiration, as the track follows a beast that terrorizes a town, was killed and then was resurrected to wreak even more havoc. Musically, the guitar work from Jake E. Lee is top notch with a driving riff that is easily one of the most recognizable licks from Osbourne’s catalog. Listen to ‘Bark at the Moon’ 2 ‘No More Tears’ From: ‘No More Tears’ (1991) Ozzy Osbourne stated in his ‘Prince of Darkness’ liner notes that the song ‘No More Tears’ was “a gift from God,” and we’re not ones to disagree. The Bob Daisley bass line that opens the track pulls the listener in, while chugging Zakk Wylde guitar licks propel the song’s verses. The track also features an extensive bridge infused with keyboards, piano and what sounds like a string backing before finishing out with a fury. Listen to ‘No More Tears’ 1 ‘Crazy Train’ From: ‘Blizzard of Ozz’ (1980) No surprise here — ‘Crazy Train’ is the best Ozzy Osbourne song of all time. It’s the song that signified that Osbourne’s move to a solo career was a wise one. Guitarist Randy Rhoads “doubled” his parts for the song’s very difficult solo, in the process delivering one of the most admired licks in rock history. As for the lyrical content, Osbourne addressed the crazy state of the world during the Cold War and offered the uplifting message, “ Maybe it’s not too late / To learn how to love and forget how to hate .” Simply put, ‘Crazy Train’ is not only one of Ozzy’s best, but one of the best rock songs ever. Listen to ‘Crazy Train’ What Is Your Favorite Ozzy Osbourne Song? We’ve show you our list and now it’s your turn to tell us if we got it right. What is your favorite Ozzy Osbourne song and did it make the list where you think it should have? Is there something we completely missed that you can’t believe didn’t make the cut? If so, what song would you knock off to replace it? Let us know your thoughts on the 10 Best Ozzy Osbourne Solo Songs list in the comments section below.

Danko Jones on New Album, Showmanship + Social Networking

Adrenaline PR It’s been a pretty significant year for Danko Jones and the icing on the cake came with the recent release of their latest studio album, ‘ Rock and Roll Is Black and Blue .’ Singer Danko Jones and his longtime musical cohort, bassist John Calabrese, spoke with Loudwire about the significance of the album title, the occasionally misunderstood showmanship that they bring to their shows, and how much stock they place in the immediate response of social networking. ‘Rock and Roll Is Black and Blue’ is a great album title. How did that come to be? Danko Jones: It was a term we had that we were going to call the very first thing we ever put out, ‘Rock and Roll is Black and Blue,’ but our scene in Toronto, there was another band called the Deadly Snakes that put out a 7-inch called ‘Real Rock and Roll Tonight,’ and we just thought the titles were too similar so we didn’t use it. We just kept it and it’s always been around, and then J.C., we were trying to think of titles and J.C. came up with the title again and Atom [Willard] liked it and we still liked it obviously, so we went with it. The title definitely lends itself to what you do live. If you can talk about the energy you unleash onstage and the commitment you have to rock ‘n’ roll. DJ: For me personally, I think ‘Rock and Roll Is Black and Blue’ signifies that it’s not the most popular genre of music anymore. Not even like the fifth or sixth most popular genre of music. Pop music, rap, country music, metal and electronica music are more popular than rock and roll, even though it used to be the most popular form of music. It almost made popular music, but now it’s just seen more as jazz – an old form of music, but it still has an energy to it. There’s a representative for each genre, like Lady Gaga and Jay-Z and Metallica and Green Day and arguably so, but there isn’t anyone of that stature for rock ‘n’ roll. There’s Wolfmother and Airbourne, but they’re nowhere in comparison to like a Lady Gaga or Kanye West in terms of popularity, so it really shows how much it’s not very popular. It’s underground almost. So that’s kind of what the title is saying and you can take from the title what you want, but for me personally that’s what it means. Can you talk about the single ‘Just a Beautiful Day’ lyrically? DJ: Lyrically, it’s actually how I don’t like beautiful days and how I don’t like the sun. [laughs] It was the first day of the year this year where everybody, at least in Canada, like L.A. you guys are lucky that it’s like this everyday, but in Canada, it’s winter for six months of the year, so the first day that it’s good and everybody busts out their shorts and their t-shirts and they just walk [everywhere], it was one of these days, a weird odd, freaky day where it was plus-20 or whatever that is in Fahrenheit, but I saw people walking around, and I couldn’t relate. One of the first noticeable things about that track is the drums and what Atom Willard brings to the song … DJ: Well that’s Atom. Atom’s been in the band for just over a year and it’s been great having him and he joined the band because he’s a fan of our band and we were fans of his band, so it was like a mutual meeting. In terms of drumming he wanted to take it back to how it was on our previous records. Obviously he’s going to do what he does, and especially on that record he really threw in a lot of the fills and stuff so it was good. Did you know it was going to be the single? John Calabrese: Hindsight’s always different when you put out the record because you don’t know what songs, cause you’re so attached to them that you don’t know what people are going to think is the single. I kind of have no idea, cause I know I like this one or that one, but I’m glad that that’s been taken as the song to represent this record in a way cause it has a lot of elements to it that are rocking and have a lot of melody. It can translate. You shot the video for the track with the Diamond Brothers, who already shot your documentary and several of your videos. What made them right for this? DJ: We had a good time making those videos for ‘Below the Belt’ and I think they knocked the documentary out of the park. It was really well done and put together considering the amount of footage they had to wade through that we gave them. And it was only natural to not fix what isn’t broken. If we went with them for a very simple black-and-white performance video, why change it up? JC: And they’ve been looking at our faces constantly for the last three years. They’ve been going through this footage and whatnot. Have to say, excellent work on the documentary and it really shows off what great showmen you are. Looking at some of the early footage through the present, you’ve really got command of that audience. DJ: It gets misinterpreted a lot by people who come to music, I think, young and they don’t understand where it’s coming from. But I have no time to explain it to them. I really don’t. I care that they don’t like our band, but I just have no time and they’ll have to come back to us when they grow up a little bit. That’s plagued us for a lot of time that we’ve been a band. Nobody understands that this is a tribute to the performance of a rock band more so than it is me shouting at people. The people who get it, get it, and it creates a strong bond between us and the audience when they do get it. I’ve seen audiences turn where they do understand mid-show what we’re doing and what this is about and there’s never ever been a show where I’ve come onstage and not been self-deprecating in a sly way. I’ve always made sure that I’ve telegraphed that to the audience. Now it’s up to them to be smart and understand it, and if they don’t understand it and don’t get it, well I’m telegraphing it to them. There’s nothing more I can do other than take out a billboard and tell them that I don’t really think of myself like this. It reminds me of one of the last times we played in America, could have been the last time we played where we did this huge festival called Rock on the Range in Columbus, and we got pretty much 99% bad comments after from these people who didn’t know. It wasn’t spoonfed to them, so they didn’t know. All they saw was some guy going, ‘I’m the best! I’m the best!’ … I’ve come to the point where I just can’t explain it. If you’re too stupid to get it, it’s not rocket science, it’s really not. I’m obviously not as stupid as you, but I’m not that smart either. So if you don’t get it, you’re just stupider. [laughs] Now I’m starting to realize that you can’t care. There will be a majority of people who will not understand what you’re doing and you’ve just got to be fine with that. Now that I’ve started writing for the Huffington Post, and you read the comments section, or you’re on Twitter or Facebook and you read these people’s comments, on social media, it’s so immediate and so accessible that people either don’t read or don’t think before they write or open their mouths and you really get an inside view as to how people really think, and wow, there’s a lot of really stupid people out there. [laugh] So you’ve got to march on. Before Twitter and Facebook, a comment meant so much more, and that was only three or four years ago, where it carried so much weight. You’re like, ‘Oh my God, if this person thinks that, then all these people thought that.’ Like, ‘We’ve really got to change the set times because this guy is really indicative of what everybody is thinking.’ Well, no, not really. Honestly, it’s really changed how I … it’s made me more confident to go, ‘No, I was right in the beginning.’ I second guessed myself for a long time, whether it’s the performance or comments that I say in interviews or anything like that, because that one comment carried so much weight. But even last week with the Huffington Post article, people were commenting and I’m like, ‘Did you not read the article? No? You did but you didn’t understand it.’ Okay, short of me asking for your email address and explaining it to you personally, there’s nothing much I can do. JC: To follow up on that, the performance thing, sometimes people come up to me and are like, ‘What’s wrong with him?,’ and pointing at him like why does he have so much attitude? It’s just like, they don’t understand it. It’s the showmanship and he’s really excited to be there and he’s never talked down to an audience. And just like he said with the self-deprecating comments, that just makes you equal to everyone else in the same room. The only difference is that he’s got a microphone and he’s a bit louder. Well, he’s the loudest guy in the room. [laughs] That’s the only difference and that’s it … It’s all for the purpose of being entertained. DJ: If Iggy Pop came out and was like coming out like he comes out onstage which is all guns blazing, but he came out going ‘Aw shucks guys,’ he wouldn’t be Iggy Pop . So there’s a certain amount of Iggy Pop and David Lee Roth and Paul Stanley and Freddie Mercury in the way that I approach the stage and attack the stage and talk to an audience. ‘You Wear Me Down’ is another great track on here, and it’s got that obvious Led Zeppelin feel and born out of a jam session… JC: Yeah, you just played the riff and jammed on it. Yeah, and I would record all the sessions we were doing and that jam is basically the template to what the song is and basically a little bit of polishing here and there, but that was it. So we’re like that’s gonna be [on the record]. DJ: There was one jam where we tried to match that in the studio, at least for me in terms of soloing, I was trying to match the demo of it. But I really get a kick out of that song, and maybe some people would consider that to be super classic rock on our part for a band that professes to have more of a punk background, but that in itself is why I wanted it on the record. You look at the discography and we did start out as a garage rock band, which was very basic and very primitive songs – sometimes not even choruses or bridges. And here we are, like six studios album in, and we’re taking a stab at Led Zeppelin . Zeppelin is and always has been the musician’s musician band. They were studio guys in there. So it does stand for something … and to take this primitive garage band and you can actually track it through our discography that we’re taking a stab at Zeppelin, I got a little kick out of that because you can see the growth of the band through the discography. JC: We played it for the Diamonds when they were in Toronto. We had them in the studio and they listened to the song and they just turned to us and said, ‘You guys went there.’ That was the first thing they said. So fans who know the band like those guys do will get it. DJ: It’s not a ground that a lot of bands tread because it’s holy ground and a lot of bands who have tried it have failed and been made fun of, but I think we did it in a more jovial way because of our background. There’s just nobody who’s going to think that we’re trying to rip off Zeppelin – especially with past albums where things sound like AC/DC or Kiss . This is just another stab at a rock sound and that’s why I also felt comfortable including it on the record and not throwing up a red flag like, ‘Aw, this is gonna paint us as this.’ We’re not going to be Kingdom Come or something. After listening to ‘I Believed in God,’ I have to ask how cool was it to have a gospel choir on a song? DJ: It was pretty cool, but it wasn’t originally intended when we brought the song into the session. It was a wish, but we hadn’t really nailed down gospel singers or anything and the organ was at the studio. We didn’t pick the studio for the organ, it just happened to be there, so things happened quite naturally. However, if we were so hellbent on having them before we started the session … I don’t think it would have come off as it did. It might have been better, it might have been worse, but it was cool that we found these girls and they did it. There was this one girl that’s on it, she was on it the most, and she really f—ing knocked it [out of the park]. When she started singing, I could really start seeing how the song would end up. It ended exactly as I thought when she started belting out the song thankfully. On the song ‘Legs,’ many props on the bass playing. DJ: Yeah, I agree man. The bass playing ‘Legs’ is one of the biggest reasons why I fought for that tune to be the first single. I thought it was really standout. JC: Thanks man. ‘Legs’ was a tune that we had for ‘Below the Belt’ and we went and added a twist to the chorus. [Danko] loved the riff that we had for ‘Below the Belt,’ but we never took it anywhere further. And then we felt that if we changed it to the ‘Legs, long legs’ part that became the chorus that it is now and the ‘Ooh la la’ part… DJ: We added the ‘Ooh la la’ and it sounded so much better. JC: It was just little things that we made up, and then to kind of color it there were a few little things I did on my end that kind of worked with the song that way. It does make it sound really raw. It is the band, so it’s not like I’m trying to go for something different, but it is a really fun song for sure. Off the new record, what are you most looking forward to playing live? DJ: Looking forward for me, I’d say ‘Terrified.’ It’s one of my favorite songs on the record and I can’t wait to play that song. It’s just heavy and all the half-steps I love, so it just makes things heavier and I like that. JC: We’re just about to start the journey that is the supporting of this record, so I’ll go with him on ‘Terrified.’ It’s gonna be fun. I really want to play ‘I Don’t Care’ cause that’s gonna be a real crowd pleaser and ‘Get Up,’ I can see those two ones there really working well in the set and bringing a lot of high energy. Obviously you’re moving forward with this record, but with this year of reflection with your ‘Bring on the Mountain’ documentary and ‘Too Much Trouble’ book, can you think back to what you hoped for as a new band back in the early days and how you view that now? DJ: It’s in the book and I did the interviews for the book before Atom was in the band, and what I say in the book was, for me, the only thing I wanted to do was tour with Rocket From the Crypt and record with Doug Easley, because Doug Easley recorded all those Blues Explosion jukebox 7-inches that I thought were like better than his records, so those were my goals. I remember saying that out loud, “I want to tour with Rocket, record with Doug Easley, and tour Japan.” I don’t know why those were the goals, and also get signed to a cool indie label in America like a Touch & Go or Matador or something. Only one of those things happened, which was we were able to play Japan. But the guy in Rocket when we started is now in our band. So, you know, it’s a yin-yang thing. Things have a way of evening out in the end. But had no idea that we would be taken around the world by Axl Rose or get to sing with Lemmy or get to sing ‘Night Train’ with Guns N’ Roses … Never knew any of that would happen. JC: And it’s still happening. We were in Toronto a few weeks ago and Jello [Biafra] was in town it was like, “We get to have lunch with Jello Biafra.” That’s just great. And we went to the show and [Danko’s] singing with him. Man, who would have thought? All these years later, look what we’re doing. DJ: I really think that that’s the way to do it. I think if we had a plan, it would have crumbled. [button href=”” title=”Next: Watch Danko Jones’ ‘Just a Beautiful Day’ Video” align=”center”]

Danko Jones Reflect on Extended Lifespan With ‘Too Much Trouble’ Book

ECW Press For Danko Jones , 2012 is a year of transition. While the band has been busy working up to the release of the new studio album, ‘Rock and Roll is Black and Blue,’ they’ve spent an equal amount of time reflecting on their past with their ‘Bring on the Mountain’ documentary and now the forthcoming book, ‘Too Much Trouble: A Very Oral History of Danko Jones.’ Singer Danko Jones and bassist John Calabrese spoke with Loudwire about what made this the right time to reflect on the band’s past and what the experience was like putting together two time-consuming documents. Jones explained about the timing, “It just seemed the right time and we could do it in two years or three years or five years, but it had been the fifteenth year of the band as a band and when you think of seven years being the average lifespan for a band, nowadays, we’ve lived it two times. And that was two years ago. We’re now on our seventeenth year.” The singer admits that they’ve seen some highs and lows and transitions with their audience, and he views the ‘Too Much Trouble’ book as a way of bringing it all together. He explains, “We gained a new audience in some places and our older audience [is still there], so this is our chance to bridge the gap between the people who found out about us in the last two or three years because we’ve had singles on radio and the people who were into us a long time ago and moved on or annoyingly asked, ‘Whatever happened to that band?’” It also turned out that the time for reflection worked out perfectly for the band, as they changed drummers and added Rocket From the Crypt skinbeater Atom Willard, thus starting a new chapter in their history. Interestingly enough, Jones admits in the book that one of his goals when they started was to tour with Rocket From the Crypt, but although that never happened, he’s thrilled to have the drummer from the band as part of their lineup. For Jones and Calabrese, seeing both the documentary and the book finally arrive completes the labor of love they started after their fifteenth year. “It took two years to make and two years to track down the over 70 people who are in the book,” says Jones. Calabrese adds, “It’s gonna be great because the book and the DVD, they stand alone on themselves, but it’s a great way to bring everybody up to speed.” The ‘Too Much Trouble: An Oral History of Danko Jones’ book just arrived in stores internationally. The band’s new album, ‘Rock and Roll is Black and Blue,’ follows on Oct. 9, and the ‘Bring on the Mountain’ documentary was released earlier this year. Stay tuned for Loudwire’s full interview with Danko Jones, coming soon. [button href=”” title=”Next: Watch Danko Jones’ ‘Just a Beautiful Day’ Video” align=”center”]

Danko Jones, ‘Just a Beautiful Day’ – Exclusive Video Premiere

Danko Jones – YouTube Channel Danko Jones are back with a blistering new track called ‘Just a Beautiful Day’ and Loudwire is proud to present the exclusive video premiere of the performance-based clip, which shows the raw energy of what the band put into the song. The track has a very percussive feel, with the band’s new drummer — Atom Willard, formerly of Rocket From the Crypt, the Offspring, Angels & Airwaves and Social Distortion — pounding away on the skins at a frenetic pace. In addition, both Danko Jones and his longtime bass counterpart John ‘JC’ Calabrese provide the driving track with some crunchy riffage. Calabrese told Loudwire, “I’m glad that that’s been the song to represent this record in a way because it has a lot of elements to it that are rocking and have a lot of melody.” Having spent so much time on their last record cranking out videos with special guests like Elijah Wood, Lemmy Kilmister , Selma Blair, and Ralph Macchio, singer Danko Jones said it was time for the band to go back to the basics for the ‘Just a Beautiful Day’ shoot. “We did so much with the last record in terms of stars and storyline and it was a big to-do that I think the only natural thing to do was to take it back,” explained Jones. “If we tried to follow up on what we did for the last record with all the celebrities and stuff we’d just become like that band that has all the famous people in their videos – more famous than them. So it was good to just take it a step back. It’s cool. I definitely like it.” The black-and-white performance piece was shot by The Diamond Brothers, who’ve previously worked with the band on past videos as well as the recent documentary, ‘Bring on the Mountain.’ The clip, shot in a New York loft, finds the band pouring every ounce of adrenaline into the track possible while the camera shot blur in and out of focus mirroring the ferocity of the track. ‘Just a Beautiful Day’ is the lead single from the band’s new album, ‘ Rock and Roll Is Black and Blue ,’ due Oct. 9. Pre-order the disc here . Watch Danko Jones’ ‘Just a Beautiful Day’ Video [button href=”” title=”Next: Danko Jones Playing Australia’s Soundwave 2013 Fest” align=”center”]

Iron Maiden, Slayer, Slipknot Members + More Rock Marshall’s ’50 Years of Loud’ Event

Marshall Over the weekend, the lineage of Marshall Amps, as well as its last founder, Jim Marshall, was celebrated at the ‘Marshall: 50 Years of Loud’ event. Held at Wembley Arena in London, ’50 Years of Loud’ showcased an unparalleled lineup of musicians, all known for their electric acts. Members of Iron Maiden , Slayer , Motorhead , Judas Priest , Deep Purple , Slipknot , Black Label Society , along with guitar masters Yngwie Malmsteen and Joe Satriani paid their respects to Marshall by performing an incredible collection of rock masterpieces. With musicians constantly interchanging throughout the night, songs such as Iron Maiden’s ‘Flight of Icarus,’ Motorhead’s ‘Ace of Spades,’ Pantera’s ‘Mouth For War,’ along with various Black Sabbath and Judas Priest songs were unleashed by the slew of rock and metal legends. Check out this fan-filmed footage of Judas Priest’s ‘Living After Midnight’ (featuring Slipknot’s Corey Taylor and Tim ‘Ripper’ Owens on vocals) and Deep Purple’s ‘Smoke on the Water,’ along with the full ’50 Years of Loud’ setlist below. Judas Priest’s ‘Living After Midnight Deep Purple’s ‘Smoke on the Water’ Full ’50 Years of Loud’ Setlist with Musicians 01. Instrumental Jam * Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 02. Lil’ Devil (THE CULT cover) * Corey Taylor?* Billy Duffy?* Jaz Lochrie?* Chris George?* Brian Tichy 03. Heaven And Hell (BLACK SABBATH cover) * Tim “Ripper” Owens?* Doug Aldrich?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 04. Slide It In (WHITESNAKE cover) * Tim “Ripper” Owens?* Doug Aldrich?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 05. Flight Of Icarus (IRON MAIDEN cover) * Tim “Ripper” Owens?* Doug Aldrich?* Nicko McBrain?* Jaz Lochrie?* Chris George 06. Living After Midnight (JUDAS PRIEST cover) * Tim “Ripper” Owens?* Doug Aldrich?* Nicko McBrain?* Jaz Lochrie?* Chris George?* Corey Taylor?* Nick Bowcott 07. Cheap Sunglasses (ZZ TOP cover) * Paul Gilbert?* Mike Portnoy?* Eli Gilbert?* Jaz Lochrie 08. Manic Depression (JIMI HENDRIX cover) * Paul Gilbert?* Mike Portnoy?* Eli Gilbert?* Jaz Lochrie 09. Rocky Mountain Way (JOE WALSH cover) * Paul Gilbert?* Mike Portnoy?* Eli Gilbert?* Jaz Lochrie 10. Still In Love With You (THIN LIZZY cover) * Corey Taylor?* Phil Campbell?* Jaz Lochrie?* Brian Tichy?* Tyler Campbell 11. Ace Of Spades (MOTÖRHEAD cover) * Corey Taylor?* Phil Campbell?* Jaz Lochrie?* Brian Tichy?* Kerry King 12. Mouth For War (PANTERA cover) * Kerry King?* Nick Bowcott?* Jaz Lochrie?* Brian Tichy?* Corey Taylor 13. Hell Bent For Leather (JUDAS PRIEST cover) * Kerry King?* Nick Bowcott?* Jaz Lochrie?* Brian Tichy?* Tim “Ripper” Owens 14. Fairies Wear Boots (BLACK SABBATH cover) * Zakk Wylde?* Kerry King?* Jaz Lochrie?* Brian Tichy 15. Into The Void (BLACK SABBATH cover) * Zakk Wylde?* Nick Bowcott?* Jaz Lochrie?* Brian Tichy 16. Stillborn (BLACK LABEL SOCIETY) * Zakk Wylde?* Nick Bowcott?* Jaz Lochrie?* Brian Tichy 17. Baroque And Roll * Yngwie Malmsteen?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 18. Evil Eye * Yngwie Malmsteen?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 19. Guitar Solo 20. Far Beyond The Sun * Yngwie Malmsteen?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman 21. Satch Boogie * Joe Satriani?* Jaz Lochrie?* Chris George?* Brian Tichy 22. Always With Me, Always With You * Joe Satriani?* Jaz Lochrie?* Chris George?* Brian Tichy 23. Goin’ Down (FREDDIE KING cover) * Joe Satriani?* Paul Gilbert?* Nicko McBrain?* Jaz Lochrie?* Chris George 24. Black Country (BLACK COUNTRY COMMUNION) * Glenn Hughes?* Søren Andersen?* Brian Tichy?* Adam Wakeman 25. Soul Mover * Glenn Hughes?* Søren Andersen?* Brian Tichy?* Adam Wakeman 26. Mr. Big (FREE cover) * Glenn Hughes?* Søren Andersen?* Brian Tichy?* Adam Wakeman?* Andy Fraser 27. Mistreated (DEEP PURPLE cover) / Rock Me Baby (B.B. KING cover) * Glenn Hughes?* Søren Andersen?* Brian Tichy?* Adam Wakeman?* Yngwie Malmsteen 28. Smoke On The Water (DEEP PURPLE cover) * Glenn Hughes?* Tim “Ripper” Owens?* Joe Satriani?* Yngwie Malmsteen?* Phil Campbell?* Paul Gilbert?* Doug Aldrich?* Søren Andersen?* Nicko McBrain?* Tobi Earnshaw?* Jaz Lochrie?* Chris George?* Brian Tichy?* Adam Wakeman

Testament Guitarist Alex Skolnick Kicks Off ‘Louder Education’ Web Series

David Livingston, Getty Images For many metalheads, Testament guitarist Alex Skolnick is considered one of the greatest of all time. As one of the most talented and sonically diverse guitarists in music today, Skolnick possesses the skills of a master metal, jazz and symphonic artist, which is why he’s the perfect teacher and host for the new series ‘Louder Education.’ Established by Metal Injection and Peavey, ‘Louder Education’ is hosted at Tomato’s House of Rock (T.H.O.R.) in New York City. Along with Skolnick, ‘Louder Education’ is co-hosted by Chris ‘Tomato’ Harfenist and is attended by the T.H.O.R. students, a collective group of young musicians looking to hone their creative abilities. The first episode of ‘Louder Education’ features Charred Walls of the Damned drummer Richard Christy , who also had legendary runs playing with Iced Earth and Death . Additionally, Christy can be heard on the Howard Stern Show as an on-air personality and master prank caller. The drummer shares his life’s story as a musician, including how he was recruited to play for Death, living life on the road + much more. As is if this wasn’t cool enough for the T.H.O.R. students to witness, some of the kids even got the opportunity to jam Death’s classic track ‘Crystal Mountain’ with Richard Christy manning the drums. Check out the first episode of ‘Louder Education’ and check back for more installments on . ‘Louder Education’ Episode 1