Illusion & Self-Destruction of Guns N’Roses – Part 2

gnr1The next year (1989) caught the group in total chaos – Izzy, Slash and Adler fought their drug crisis and finally 4 shows (October ’89) as a support band to ROLLING STONES got them on the move again. Neither the audience was deprived of band’s disputes – on the first concert Axl announced that the group would stop working unless some members “stop dancing to Mr. Brownstone”. The only one who wasn’t able to stop that dance was Steven Adler, who was replaced with Matt Sorum (ex-CULT) in August 1990. Even though the band was in the top form, with key-board (Dizzy Reed) back-up and disappearance of drugs from their daily grocery list, the relations between members started complicating a lot. Later on the interview will show that Axl’s egoism was the basic problem. Izzy decided to leave the band first and it happened just before the release of 2 multi-printed albums “Use Your Illusion 1&2” and that was officially revealed a few months after the album was on sale. It’s unusual that Axl’s vanity towards his (ex) good friend so far that all sections that Izzy recorded on the first two albums were “slowed down” and a bit changed. These two “twins” had a bit softer sound of G’N’R, epic ballads as “Don’t Cry”, “Estranged”, “November Rain”, smartly embedded between nowadays classics such as “You Could Be Mine”, “Bad Obsession”, “Back Off Bitch”. We couldn’t say anything to deny the album and it went straight to the top of the most wanted records. G’N’R became the most popular band in the world, but strangely, exactly there was the beginning of their end. A giant tour headed after, G’N’R were the headline band at every concert, on every festival, their video-clips were on top of all most-wanted programs, money was coming in from all sides – but still, in the band members weren’t satisfied.

The real curiosity in the world music industry is seeking the replacement for Stradlin – in fact 2 guitarists (?) refused to take place of the rhythm guitar in, at that time, most popular band, despite support of their gold equipment partner, website called guitarcounsel.com, so obviously that wasn’t the reason. The first guitarist was Peter Wells from the (above mentioned) band ROSE TATTOO, who said, according to press gossips “I’m not interested in what you’re doing right now”. On the other side, David Navarro (ex-JANE’S ADDICTION) asked more than $2,000,000 previously offered! Ex-guitarist of KILLS FOR THRILLS, Gilby Clarke, took Izzy’s position succeeding to play entire G’N’R opus in a few days. The whole rock’n’roll epopee could be written about world’s success of that particular tour. But behind curtains, Slash sneaked out couple of times to jam with local bands in pubs, Duff was making his solo debut in his hotel room, and Axl, as a classical prototype of a “fresh superstar” started being pretty annoying that he even jumped into the crowd (concert in the St.Lewis) and beat up the photographer. “The Spaghetti Incident” is a cover album, which Duff originally wanted to make a tribute dedicated to punk groups. But that idea evolved to a complete album where, by plain hazard, NAZARETH and THE SKYLINERS and even a song by wicked murderer Charles Manson (which, you’re guessing, also made a scandal), found their place. We should mention that all covers were made at the UYI making era and that Stradlin’s sections were, by Axl’s demand, completely erased and played once again.

Downfall and new Guns’N’Roses

gnr4Duff published a good solo album in 1993 (called “Believe In Me”), Stradlin enjoyed working with his side band (Izzy and) THE JU JU HOUNDS and in 1992 they published an excellent altogether album. In the meantime, Slash played with whoever called him (Lenny Kravitz, Iggy Pop, Alice Cooper, Michael Jackson, Michael Monroe, Duff…) and there wasn’t any news about G’N’R. In such atmosphere, the publishers started forcing the band to come back – there was exactly one place left for “Interview with the Vampire” soundtrack (1994). “Sympathy for the Devil” (THE ROLLING STONES’ cover) is the last track recorded in the, partly, old line-up: Instead of Gilby, who left the band ’cause he couldn’t stand the pressure, Axl (without any announcement) came up with the new guitarist, Paul Tobias (PAUL HUGE). It’s hard to say exactly when the band broke down – Rose, again without anyone’s acceptance, kicked out Matt Sorum; Slash found out in the papers he wasn’t in the band any more, Duff didn’t want to play songs after he had listened to Axl’s demo tape, and only Axl stayed in the group. In the court, Axl got the permission to use the name of Guns’N’Roses. In spite of logic in this situation, only fans got most of the profit: Duff and Sorum played together with Steve Jones (ex-SEX PISTOLS) and John Taylor (ex-DURAN DURAN) and made a great offside project – NEUROTIC OUTSIDERS. Sorum even initiated the reunion of CULT last year. Izzy Stradlin made a wonderful record “117 degrees”, Slash stayed faithful to hard-rock sound with his new band Slash’s Snakepit and Gilby Clarke made a couple of good solo albums.

From the official union of G’N’R, in 1994-1999 period, didn’t arrive much of information, but by pirate channels, the news about Rose’s negotiation with Zakk Wilde (ex-Ozzy Osbourne) as a possible replacement for Slash leaked out. At the end nothing turned out to be true. The line -up which has possibly been working with Axl in the last 2 years looks like this: Robin Finck (ex-NIN, lead guitar), Paul Huge (guitar), Tommy Stinson (ex-REPLACEMENTS, bass), Josh Freese (ex-VANDALS, drums), Dizzy Reed (keyboard). And according to Rose’s story, 70 new songs have been written and 16 or 17 of them should be on the new album. If you want to know how it might sound like, you can listen to “End of Days” soundtrack that showed up on sale at the end of last year. And there, after 8 years, you’re able to hear an original tune sung by G’N’R. “Oh My God” presents Axl in one heavy-industrial manner, somewhere between Trent Reznor and Marilyn Manson who mix “My World” with UYI 2. Speaking about new album. Axl says: “I wanted to make a traditional record or to get back on Appetite for Destruction, but I failed. Slash is the reason. Simply, because no one who could possibly replace him in the right way didn’t show up on my radar”. The new style demanded a careful rearrangement of rich G’N’R heritage, so Axl &Co. recorded almost entire “Appetite Foe Destruction” album during last year, as well as “You Could Be Mine”, “Patience” which would, with those rearrangements, be performed on concerts. The new album should appear in stores a bit later than it was planned to, ’cause Robin Finck left Rose brigade and got back with NIN again (He was replaced with Dave Navarro) and Brian May (ex-QUEEN) accepted to play on the album.

Resume?

Appetite for destruction (it’s not a phrase!) destroyed G’N’R from the very beginning, from one year to another, until only one original member left. Stardlin has been telling later on about that destructive instinct as one of the reasons he quit, aware that he refused fame&fortune. When he got back to replace injured Gilby, he recognized all what he ran away from. With bigger popularity, chaos, spontaneity, somewhat sincerity of what they did just disappeared. The wild beast got into the cage, but with its claws it could only reach the confusion of people around, or more often – itself. Publishing two albums filled with music at the same time (two and a half hours!) was the reason of creative artistic blank period/freedom during which they might have got back in the track – such a killing move was a good lesson to METALLICA in 1996 not to do the same mistake (see the parallel: they publish: “Load” instead of double album and then a year after they publish “Reload” and after that headed the cover record and finally – live album => the band still exists and kicks ass!) The thing that was leading them was an illusion which has turned to a nightmare. “On this live album”, says Axl “When I heard some live tunes from UYI tour…ah…I hear as the band dies”. And that was the end.

The resume is simple: G’N’R was a damn good band. Albums like Slash’s Snakepit (“Ain’t Life Grant”), Duff’s (“Beautiful Disease”), Izzy Stradlin’s (“Ride On”) or Axl’s (“Chinese Democracy”) can’t change our judgement toward what G’N’R left behind them. And it is wild, dangerous, good.

Illusion & Self-Destruction of Guns N’Roses – Part 1

The release of “Live Era ’87-’93” album was just a pro-form motive for music media all over the world to put the name of GUNS’N’ROSES into their headlines, because it was anxiously expected which direction (Axl, Slash, Duff, Izzy) the beast would show up from. The same beast we saw the first time in 1986.

“Double live album was something we wanted to give to the audience, something like a goodbye to the previous era”- Axl Rose, the only original G’N’R member declared for MTV. The last hope of faithful fans for the possible reunion of the “old team” was dug under ground exactly with those words. Today it’s unnecessary to discuss “whose fault it was” for disbanding of the winning combination that held the throne of popularity at the beginning of the 90s. Still, we can use the phrase of one of the RAMONES brothers “I won’t tell you who was guilty for the breakdown of G’N’R (Ramones) ’cause I don’t wanna take the dirty underwear out, but it all started with Axl (Joey)”

Reckless life & scandals

gnr2When we get back to the far 1985, Jeff Isbell, later known as Izzy Stradlin who wanted to make the best band on the planet founded this group. He wanted his long time friend, William Bailey, to sing the vocals. This friend changed his name into Axl Rose when he found out the last name of his real father. The rest of the band were bunch of local faces such as: Tracii Guns (guitar), Rob Gardner (drums) and Michael “Duff” McKagan (bas). Such Motley crew didn’t hold on for long, played without any rehearsing under different names (ROSE, HOLLYWOOD ROSE…). Gardner and Tracii soon left the band (right after the departure, Tracii formed the band LA GUNS). But Duff found the replacement for Tracii in ROAD CREW, one of the million local LA bands he played with: Steven Adler (drums) and Saul “Slash” Hudson (guitar). And that’s how GUNS’N’ROSES were born. Axl stole his first styling from the walls of Izzy’s room where were posters of Michael Monroe and HANOI ROCKS, which indirectly influenced their sound: glam rock sounded (and looked) quite good. A big publishing house “Geffen” saw in G’N’R the glam/sleaze comebacks and was ready to offer a contract worth $75,000 in March 1986. But they did not know G’N’R would spend the whole sum for debts and inevitable drugs. The same year a self-produced EP “Live?! Like A Suicide” was published in the limited edition (10,000 copies) for the small label, Uzi Suicide Records. Album sales were beating all predecessors. EP had two covers: AEROSMITH “Mama Kin” and “Nice Boys”, a song from Australian group ROSE TATOO. It also contained two original songs: “Reckless Life” and “Move To The City” which described a chaotic state all members were in. A couple of years after a little deceit was discovered concerning this edition – all 4 songs were recorded in the studio and later on they added the roar of the audience in order to have a “concert atmosphere.”

Reputation of G’N’R was growing rapidly, still the success was quite far from them. The last day of July 1987 “Appetite For Destruction” comes out and admit it or not, it was on the list of Top10 ever recorded! 13 years after, this EP doesn’t reveal any mistake, any wrong/excessive tone; everything is unmistakable – from skeptical “Welcome To the Jungle” to manic “Rocket Queen”. Rock’n’roll riffs fly across one dimension to another, lyrics is drowned in the cheap Nightrain wine, strained battle for Mr. Brownstone who they didn’t know how to run away from. Paranoia and love, glam & heavy, finally all that was in the same place, simple & perfect. Despite its potential, this album at first didn’t mark much of a sale. “I didn’t give a shit about success”, recalls Slash, “And when it happened, it surprised me. We were touring during the whole year, we knew album was selling high number of copies and all of a sudden, the mass started coming to our concerts. The publishing house would call us and tell us on which position we were on the Top list and how many copies we sold, but I didn’t appreciate it until at the end of one tour, in the free shop on the airport, somebody asked me to give him my autograme”. It took a whole year for “Appetite…” to get on the first place of the U.S. Billboard Chart and finally started selling it. And what a year… The first scandal headed right after the release of the album: vinyl version that usually shows up first had a “rude” envelope. It was an illustration “Appetite for Destruction” by Robert Williams from 1978 where the scene of raping was shown. But since the year 1987 was the year of Tripper Gore (the wife of senator Al Gore) who was against “violent lyrics and explicit covers” of rock albums, very soon stores withdrew sales of this record. Unsold copies were taken back to the publishing house, which changed envelopes of vinyl and both cassette and CD edition – it was the cross Guns’N’Roses on the black background.

Chaos and more scandals

gnr3Tours were the right way of promoting their record, but the band was constantly in the state of chaos, deeply into problems with alcohol, drugs, and women, always on the verge of existence. It’s hard to say who actually played with the band during the tours – beside the usual line-up, we should mention Weat Arkeen and Del James; there were also members of bands as MOTLEY CRUE (Slash and Adler saw heroin overdosed Nikki Sixx), Fred Coury (CINDERELLA) played drums for some time (Steven injured his arm ?), IRON MAIDEN, Alice Cooper, ZODIAC MINDWARP and THE LOVE REFLECTION; the bass played legendary Kid Chaos (ex-ZODIAC MINDWARP, CULT, THE FOUR HORSEMEN) ’cause Duff decided to go on the honey moon.(?!) etc…Yet, event that filled tabloids all over the planet was the accident on the Monster of Rock Festival on Castle of Donnington in Britain, when 2 fans got killed in the crowd. Who got the chance to listen to the bootleg from that concert has surely heard the effort of Axl Rose to calm the audience down, but nothing helped – the press found the scapegoat. “The press is the press” says Slash “They take some event and turn it into something that would sell the papers”. Swamp with scandalous articles, with good concert promotion and couple of video-clips rotating on the leading music television, G’N’R were slowly getting into the spotlight – album that was on the first place of the Billboard Chart was one year late.

Naturally for some excesses they weren’t guilty at all, which we couldn’t say for the controversial song “One In A Million” (Album “G’N’R Lies – the Sex, the Drugs, the Violence, the Shocking Truth”) published in the last month of 1988. Axl attacked black population (calling them pejoratively “niggers”) with lyrics “get out of my way”, as well as immigrants and homosexuals accusing them that “immigrants and fagets/they make no sense to me/they come to our country/ and think they’ll do as they please/like start some mini Iran/or spread some fucking disease.” It’s not known how the immigrants reacted (Serbian community didn’t say a word), but homosexuals manage to cancel G’N’R show for the anti AIDS charity concert in New York. But the lyrics about “niggers” made tension within the band. Slash’s mother is black. “I’ll say only I wasn’t for that song at all, and I refuse to play it on the shows” says Slash. These events didn’t affect the album sales and G’N’R had become the first band after a decade and a half whose 2 albums got on the Top5 list. The rest of “Lies” contained 3 new acoustic songs and all 4 songs from their first EP.

A Global Sound PoV – Interview with Peter Gabriel – Part 2

Sledgehammering the universe

– As a world-renown and respected musician but a tad unorthodox, was there any opposition to your involvement with this project that obviously had to appeal to masses?

“The good thing was that the show wasn’t sponsored directly and there was no interference; the only concern was the title, from the management who insisted to be called ‘The Millennium Show’ but we won in the end and at another point there was a Government minister, called Lord Faulkner, he had been in a band with the Prime Minister, Tony Blair, who got worried that the music would be all strange and weird. So, I had to go to the back of Downing Street for a very strange A&R meeting, in his political office and the minister had his staff of all ages come in to listen to it. Fortunately they all liked it.”

– Part three ends on an optimistic note and, based on the past examples, it is difficult to believe that man would be so kind to share anything with nature; isn’t it more feasible that he would destroy it by the inherited greed?

“My hope is that when it comes to our selfish advantage to work with the nature again we will reconsider it. I think there will be a lot of reasons for us to do that; on my next record there is a song called ‘Soft City’ and it was inspired by a snowstorm in New York. I’ve noticed that people behave differently towards each other in a snowstorm. All the sound gets absorbed and the noise of the city is muffled, it becomes quieter and people come on top; more are walking, helping each other… There is a talk of making aeroplanes with soft-skin, as well as cars and there are already roads where tarmac has been mixed with rubber to minimise the surface noise… As I mentioned earlier there is a work on organic-computers and we will have to embrace nature for our own benefit.”

“The point of the finale was to neither be pessimistic nor happy ending but leave it a little open, a bit unknown… There is a sense of hope that if you do your job well as a parent then kids can leave without problems; you can’t control your kids but do your job well and, if you do that, you become obsolete. The children should have enough of themselves to carry on on their own.”

– Has the competition of ‘OVO’ liberated you to concentrate on your next (proper) album?

pg2“Yes, I’ve been working on it and one of the songs on ‘OVO’, ‘Father, Son’, was intended for that album but I was talked into including it here as there is a father-son relationship… My new record is more personal, more edgier but still song based. It is still a mix of hand playing and machine-based rhythms… I think of it as a cinemascope, wide-screen landscape record, big pictures for the difference from the small ones I had in the past; I don’t know how it will all end up sounding because I haven’t made a final selection from the material I’m considering for it. I think I’ll have it finished by the end of this year and have it out at the beginning of the next.”

– You’ve become an ambassador for the World Music but, do you remember your first exposure?

“Yes, very well; I was getting tired of using the rock rhythms, and you have to remember that I started out as a drummer, and was looking for something else and it was Pete Townsand (of the Who) who introduced me to it when we were doing the first WOMAD charity record to attract people to the festival… I also love the voices in ethnically diverse traditions… I love records that contain that quality of otherness, I love when you get somewhere when you haven’t been before, you don’t know… it is a new world and you can go from dreaming of it… When I make my own music I try to create that.”

– It is the nature of artists to be self-doubting; has your self-confidence increased to the point that you can ignore criticism?

“Well, I still pay attention to the critiques and enjoy the good ones but always remember the bad and the personal ones. I’m more comfortable now, I’ve turned 50 this year, I’m more comfortable in my own skin although I still have self-doubts, go through periods when I think everything I do is crap, then you start working with someone else and your enthusiasm gets fired up again. But I think I’m happier not to be liked now; I think a lot of artists are doing this job because they didn’t get enough stroking when they were kids and need mass approval but when you get older you realise that it might not be so important.”

“I’m also lucky that I have my independence; a lot of musicians of my age don’t own studio where I put my money rather than in luxuries… I do have a big house now but sorting out the studio was my priority because I wouldn’t have liked to struggle like some other people I know; Karl Wallinger (of World Party) had a very tough time getting a contract and he is an excellent songwriter; he’s not a fashionable one but a classical songwriter, great songs. I have the tools of production even if the record company decides not to back me up anymore. If this album works, I mean sells, fine, but if it doesn’t, I’m okay, I don’t have to worry about it.”

A man-child of the future

– In the unlikely case that your contractual obligation is terminated, would you avail yourself of the Internet opportunity?

“Yes and I’ve been championing it for a long time; I think it is a marvellous tool and we should all use it; I have a Download system which allows artists to be looked after better than in the case of MP3.

That’s for the new artists but for the established ones, look at it like it’s free advertising. The same way I see that Grateful Dead’s sales weren’t hurt by encouraging people to bootleg their concerts. But, for the small, World Music and minority artists, it is very important to be paid because 60 percent of their income comes from royalties and 40% from live work. People need to be encouraged to pay for music but there still will be a music market and it is not going to be destroyed as the industry fears.”

pg4“I love the idea of Internet because it erases the line between the First and the Third Worlds and it is very important that there is no divide. It allows people to communicate with each other and I think it is in the interest of the rich countries to get the whole world online because that’s their future market. It is pure economic reason for it but there is also the democratising it brings with itself and it can be educational.”

– After 30 years in the business, is there something you still would like to do that has escaped you, for whatever reason?

“Yes, I’d love to work with Tom Waits, I think he is incredible; I had an opportunity to work with Randy Newman on the song for the pig-movie, ‘Babe 2’, which was a thrill as I’ve always considered him to be one of the greatest songwriters. Then, when DJs come to work in my studio I find it exciting to watch as they approach things from a different world; alike African musicians, the dance-people are not afraid to repeat-repeat-repeat, either a rhythm or a phrase; it’s interesting because there is a different type of tension in the music and you make small changes while the basis remain constant. I’m learning about it a lot… And I believe that you learn more from you mistakes than you do from getting it right. So, my advice is — Don’t be afraid to make mistakes!”

– You covered ‘Suzanne’ for the Tribute to Leonard Cohen, ‘Tower Of Song’; do you keep track of your songs being covered? Have you heard Ozzy Osbourne (with Coal Chamber) doing ‘ ‘Shock The Monkey’?

“Oh yes, and I was really excited to hear what he had done because it’s so unlikely… I knew he liked ‘So’ because he told me a couple times I met him. That version is pretty good but I would have done things differently; his version is energetic, I have to say. For me it’s fun to hear what people do with my songs and there are few things that include samples from ‘Sledgehammer’; I recently gave a permission to Tricky to sample ‘Big Time’ for the ‘Mission Impossible 2’ film…”

Gabriel started in the late 1960s with his progressive rock outfit Genesis but found it restricting and left in 1975, leaving it to Phil Collins to make them chart-contenders. His first four solo albums were simply entitled by his name as if they were all parts of the same collection; he later moved into issuing a number of visually intriguing long-form videos and has always been renown for performing some of the most exciting live shows but he is not in a hurry to repeat the experience.

“I love touring and playing live because it is such a great experience… When my next studio album comes out I’ll be going on the road again.”

‘OVO’ is another example of Peter Gabriel’s global point of view.

A Global Sound PoV – Interview with Peter Gabriel – Part 1

pg1PETER GABRIEL is the doyen of World Music promoting and WOMAD instigator, a studio and label owner, a producer, a reluctant and flawed Rock star and an all round introverted guy. During 3 decades career frequency of his albums has legnhtened: the ‘US’ graced our CD lasers in 1992; aside a two-disc ‘Secret World Live’ in 1994 and ‘Eve’, CD-ROM album-game in 1997, there hasn’t been a new album in 8 years!?

‘OVO – The Millennium Show’ is a soundtrack album to the multi-media show staged at the ill-fated celebration of the civilisation at the London’s Millennium Doom, pardon — Dome. For two years Gabriel toiled on this project to have only some 20 minutes used in the show; ‘OVO’ is the complete score that demanded of him to cast different singers for character voicing: Elizabeth Fraser (ex-Cocteau Twins), Paul Buchanan (The Blue Nile) and the legendary Richie Havens; among the players were his long-term collaborators David Rhodes (guitar), Tony Levin (bass) and Manu Katche (drums) .

There has always been some vagueness of character about Gabriel, now more defined with age; the recent clocking half-a-century is reflected in his hairs being shorn to a millimetre from the skull and greying goatee. It all makes him look a tad on the cool professorial side but he’s always been interested in music making rather than ego and image building; Gabriel’s never followed fashions and joined trends but being an individual not afraid to express it through his art.

“I was attracted to the project,” Gabriel speaks slowly and fairly quietly that simply underlines his modesty, “because I’ve always been drawn to the multi-media performances. It was an opportunity to collaborate on a huge project that presented so many challenges. I worked with Mark Fisher who created stages for ‘Zoo TV’ (U2), The Rolling Stones, Pink Floyd, Tina Turner, REM… This was new to him because it was like a musical with so much more resources.”

‘OVO’ presents the story of the three time-frames of human evolution through the lives of three generations of a family, the socio-economical changes that affect their relationships, causing conflicts and disagreements. It takes in the dawn of man, industrial revolution (centred in a Tower Of Babylon-like structure) and the post-cyber existence of humanity.

pg3“Our biggest problem was the shortness of it but the requirement was to tell the whole history of mankind. I don’t think that the 20 minutes used for the show make the story comprehensible… The first part is about nature, ‘The Man who loved the Earth’ when father is learning to live in such environment, the second is the time of his son, ‘The Tower that ate People’, corresponding with the industrialisation that divides people. There is love, warfare, starvation, a bit of a revolution at the end and then, the third act, ‘The Nest that sailed the Sky’, the future period, the daughter’s time and she gets together with the member of ‘Skypeople’ (oppressed classes), has a baby and it is the beginning of harmony between nature and technology.”

“We have reached a bio-technological age when we have computers based on the organic processes now, we have various means to take the systems of nature and put them into the machines; it is like decentralised nature and technology but on a much deeper level. And, instead to have a happy ending, we have a baby, called OVO, ascending into the sky, little like (cyber) Moses but also referencing the ‘Star-child’ from ‘2001’ film, floating into the unknown.”

At times the ‘libretto’ of ‘OVO’ reads like a fairy-tale cum pulp science-fiction crossed with the Biblical snatches but its music is deeply rooted in reality and reflects many of the different facets that have combined into the British culture: there are elements of the sonic heritage from every continent as well as the components of the popular culture, with only a hint of reggae.

“The idea was to incorporate everything and your objection about reggae not being represented well is correct, there is only about 30-second dub-bass, but it didn’t really fit in… I’d have liked to have had a bit more in because it has had a major influence on the British culture but there was no way to include everything in equal proportions.”

“The thing to bear in mind is that at the turn of the millennium we were asking ourselves ‘Who are we?’ but we weren’t who we used to be within a short space of the calendar change.”

– This is not the first time you’ve wrestled this subject but attempted to tell the story of the world (in 40 minutes) on the Genesis’s debut album, ‘From Genesis To Revelation’ (1969)?

“Yeah, I like nice, small kind of the ideas,” Gabriel almost smiles, ” but this time there is a little booklet to go with the package. Unfortunately the record company couldn’t produce it for the commercial release, it costs too much, but I will make it available on our Web-site. At least the story is there and to make music more accessible to the contemporary audience, it is not narrated but rapped. We got Neneh Cherry and Rasco to do it.”

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