Let’s start out by talking about “Adopted.” It’s a mockumentary, like “Pauly Shore Is Dead.” How did you approach this film?

Vince Vaughn told me, “Once you’ve done the first one then you’ll know how to do it.” Once I did “Pauly Shore Is Dead” I’m doing these smaller things that I can control. My philosophy is “High concept, low budget.” Doing movies that go into theaters is too much of a risk. There’s just too much at stake, unless you have millions and millions of dollars. It’s really hard to market yourself in theaters.

I think the movie business from that point of view has a lot in common with the music business. Just because you’re on a major label doesn’t mean you’re going to have full control of your band and make tons of cash. Starting your own label is the way to go if you want that control. And the opportunity to control your finances.

Yeah. With the Internet and all the different ways to promote your stuff, at the end of the day it’s all about the material and what level it’s at. It doesn’t matter if it’s a web short or a film or a TV show. It’s about getting the product out there and people liking it. You know what I mean? It’s always about entertainment.

So tell me more about “Adopted.” How did you come up with the idea for it?

I was going down to South Africa to do some stand-up shows. Once I got down there my wheels started spinning. I knew I had to do a movie if I was going all the way down there. I made the promoter of my stand-up tour my producer. He financed it and helped me come up with some of the ideas. We hired a production staff while we were down there and I came up with the beginning, middle and end. I organized it all in my hotel room and then we just shot it.

What about the kids in the movie?

We cast all those kids, like Slumdog Millionaire. This is my Slumdog, bro!

You’re obviously in control of your career and doing a lot of different projects on your own. What do you want people to think when they hear the name Pauly Shore?

I don’t really care what they think – I just want them to see my stuff. Then I care what they think. It’s like asking what people think about Rocky Road ice cream. Some people like it and some people don’t. You’re never going to please everyone. I do want people to see my stuff and then give an opinion about what they think.

You mentioned web shorts earlier. There’s so much happening on the Internet these days. Social media sites are through the roof. How has all of that affected your career?

You have more control. It’s like MTV used to be when I first started. There wasn’t 50 people stepping on what you say. These days you have to dodge a lot of bullets. You have to dodge and weave, ya know? I personally like for someone to just give me a whole bunch of money and let me do what I want to do with it and then deliver the piece, with their trust in me that I’m going to deliver something really spectacular.

How does your mind work in-between projects?

It doesn’t stop working. I’m about to shoot an MTV show I created. I don’t really wanna talk about it because I don’t like talking too much about something unless it’s in the can, ya know? I have a film idea I came up with. People always say I should do something different, something against type. That’s what I really want to do – something people won’t expect. I have a film concept and a script for a project I’m looking for a director on called “Slut Killer.” It’s a thriller about a slut vigilante. It’s about a guy who kills girls that come to Vegas to cheat on their boyfriends.

I get it. In his mind he’s doing a good thing by getting rid of these cheating women.

Right. He sees those women ruining great families. What do you think?

I totally get it. I can almost empathize with the killer because you know something traumatic has happened to him to make him want to kill those girls.

His step-mom totally devastated his father. His mom died when he was a kid and his dad remarried this Anna Nicole Smith type character. She ruined his father and stepped on his heart. The first slut that he kills is his step-mom.

Cool concept, dude. Let’s get a little historical. For anybody that doesn’t know Pauly Shore – and if it doesn’t bore you to tears – would you care to tell us a little about how you got into the entertainment biz.

I was raised in Hollywood my whole life. My mom and dad are both in the business. I grew up around Sam Kinison and Richard Pryor. They helped take care of me as a child. My dad opened for Elvis Presley. I grew up in it. That’s #1. Number 2 is this: You don’t choose the business – the business chooses you. It’s something that’s inside of you. One thing about it, there’s a lot of victims out there. A lot of people will say somebody was only able to do something because of this or that. Those are the people that don’t go anywhere in life. A leader can take nothing and make something. Those are the people that will succeed. Like Nelson Mandela or Mother Teresa. They can inspire by taking “nothing” and making it “something.” I was at a point in my career where no one would touch me. I was selling out shows on the road but Hollywood stopped giving me movies. That’s when I came up with me making fun of my death in “Pauly Shore Is Dead.” I made a comedy out of the whole thing that ended up being really therapeutic for me. I really just wanted to make an entertaining film. I was able to take nothing and make something. I think that’s the key. People blame their agents and their managers and all that shit for not working. You’ve got to hustle and figure it out yourself.

It reminds me of all the bands in LA in the mid to late eighties. They thought if their hair was teased a certain way and they had on the right makeup that they would make it big. It really comes down to the music and the talent in the band.

Talent always wins at the end of the day. Look at guys like Howie Mandel. He was on St. Elsewhere in the eighties and he wasn’t touched for like, 15 years. He was always talented. He’s a funny guy and people like him. Then he got Deal or No Deal and now look at him, ya know? Talent always wins. Sometimes you’ve just got to weather the storm.

Are you more motivated now than you were earlier in your career?

I was motivated back then. I’ve always been motivated. Even before I made it I was motivated. I high school I was motivated. I wouldn’t say I was the best at what I did, but I always took what I did very seriously. Break dancing. Surfing. Skateboarding. I always took my comedy very serious. I was very detailed and I worked hard.

Pauly, thanks for hanging out with us today. What would you like to say to wrap everything up?

Come see me when I’m out on the road! Don’t forget to check out my new film “Adopted.” I’m really proud of it.

Check out “Adopted,” now available at Walmart. Find Pauly on the web at PaulyShore.com!

Mike, I appreciate you taking time for this today. What’s been going on?

I had one daughter just graduate high school. Another daughter just had her 25th birthday and her boyfriend just graduated college. We’ve been in birthday – graduation – home mode around here. I’ll be doing a few shows with Sammy this summer and in September we’ll be back in the studio.

It’s nice to see that Chickenfoot has taken on a life of it’s own and people realize it is definitely a “real” band and not just another supergroup. How did you guys see it when you first got together?

We didn’t even see doing a record. When we first got together about three years ago we had so much fun that we decided to go into the studio and do some writing and see what would come of this. It definitely wasn’t a supergroup thing where we picked out musicians to work with. I’ve known Chad Smith for years and I’ve jammed with Joe before. It was really just four friends with a little time to see what happens. We just wanted to get together and jam. We started writing stuff and it sounded great. Next thing you know we decided we needed to record what we were doing and then we got Andy Johns involved. Then we decided we should do a record. When you hear about “supergroups” you know they’ll record a CD and hit the big arenas and make a lot of cash and then shake hands and say goodbye. It wasn’t like that all. We want to have fun. We’ve all done our stuff in the past and we have absolutely nothing to prove. We’re just diggin’ the music we’re making.

That vibe definitely comes across. If you were lying to me right now it would be easy to see on stage if you were telling the truth or not! It’s like a bunch of brothers on stage.

Let me tell ya. We toured for a good part of last year and it was like a paid vacation. Not to dwell on it, but Van Halen in the later years became all about big business. It was more of a corporate thing and you almost lose sight of why you were doing it in the first place. Now it’s like I’ve been rejuvenated. I feel like it’s the first band I ever played in. I get to hang out with three of my buddies and have fun and then we get to go on stage and jam and have a good time! What more could you ask for?

Think how many real brothers wish they had the bond you guys do. Especially you and Sammy.

We were great friends when he was in Van Halen. It wasn’t until after he left Van Halen that we reconnected after a few years and really became buddies. We’ re better friends now than we were the first time around. The proof is watching the DVD or seeing us live. There is no act going on. We’re having a great time on stage. How can you not when you see a guy like Chad up there just going nuts?

When someone is known for dropping his pants as quickly as he does, you know you’re in for a party atmosphere.

There’s been a few times where we told him to leave the sock at home! That’s for his other band. It’s definitely a fun vibe. Even Best Buy – who we did the album through – asked what was up and if we were gonna just call it a day. We were like, “hell no!” It may take a little while to put another one out because Joe’s working on another solo album and Chad’s in the studio with the Chili Peppers. We’ll wait. It’s not like we’re going to make it a revolving door type of band where Joe can’t make it so we’ll get another guitar player. This is a band and we’re not going to replace anybody unless we just totally have to.

You mentioned your deal with Best Buy. You had to be blown away with the promotion for that CD. Not only when the album first came out, but I still see Chickenfoot promo items in the stores.

They still have our faces up there in the CD section. I go into the local Best Buy quite a lot because it’s one of my favorite stores. They just had a sales contest for the new Chickenfoot DVD and they won for their territory and got one of the autographed Ibanez Chickenfoot guitars. Best Buy threw ‘em a chicken wing party. It’s not like being on Warner Brothers but they almost go out of their way to treat us better than the record companies.

I think it’s going to take doing things like that again to restore people’s faith in the music business.

Exactly. It’s going to guys like Best Buy and Walmart now. And they’re not small corporations. They’ve got big cash. The entertainment section of Best Buy is great. They were throwing parties for us all during our tour. We hosted a bunch of parties for them. It’s great. One hand washes the other. We have a great relationship with those guys. Gary Arnold is the guy we worked with on the road and they really believed in the band. They came out on the road a lot. Gary even came to Europe with us.

One thing that took me by surprise when I heard you guys were getting together is that Joe Satriani was in the band. He seems like such a structured guy compared to everybody else in the band.

That makes sense because he keeps the structure within the band! You’ve got me, Chad and Sammy on the other hand! Joe keeps us all in balance.

I can just see him in the studio with his glasses hanging on the tip of his nose writing notes on a chalkboard.

He brought the staff paper to the studio every day, believe me. We’re all into it. But – where us three would wanna jam something out, Joe would say, “no, I’ve written this out.” He’s a very structured musician as opposed to Eddie Van Halen. Eddie doesn’t read a note of music. If you ask Joe something about a chord progression, he’ll go into this mixolydian mode stuff. He really knows everything behind that. I took a music class when I was in college so I have a basic understanding and can read music. He really does understand it and that’s great. To have that with great musicianship really works.

You had new songs, a new band and a new guitarist. Did you approach your bass playing differently with Chickenfoot?

Oh yeah. When you’re jamming with different musicians it’s very inspiring. I had Joe on one side and Chad on one side with Sammy wailing away. My tongue was on the floor every day. Playing with Chad now is like playing with Alex when we used to really connect. He’s not your basic “four on the floor” type of drummer. He’s very unorthodox and it does make you see things and play things differently. I just went with it. Nobody thought about it. We all just did our thing and I think that’s really what makes Chickenfoot work. Hopefully that won’t change when we’re doing the second album. We wanted it to be old-school like we used to record in the studio. We had everybody jamming in the studio at the same time. We pretty much did all the tracks at the same time in the studio together.

I know you said you’ll hit the studio in September. What have you been working on so far?

We’ve been bouncing some ideas back and forth. In April we were able to all get into the studio together. We went in to Sammy’s studio in San Francisco for about a week. During that week we had four things demoed up. There was one song Joe and Sammy had been working on but the other stuff … There were just so many ideas coming out. It’s definitely Chickenfoot. We’re not looking to change direction. Hopefully we’ll spend a lot more time in the studio as a band than we did on the last album. The schedules only gave us a few days here and there. I hope we have more time to work on stuff in the studio.

Now I want to shift gears for a minute. Mike, I don’t drink, smoke or do drugs – but I eat like a pig. We’ve got to talk about your hot sauce. Tell me a little about your sauce and why you decided to get into it.

It all comes down to my love for hot food. I remember a couple of the last tours when Sammy was in Van Halen, the word got out and almost every city we came to had people dropping off homemade chili and this and that. I thought it would be fun to do my own hot sauce. I didn’t want to just slap my name on something and cash in. I have a tattoo on my arm of a chili pepper guy blowing flames out of his mouth. It’s the logo for the company that makes my hot sauce, Mike & Diane’s Gourmet Kitchen. They make a product called Ring Of Fire that I tried and I really liked it. I put that tattoo on my arm and friends of theirs found out about it and they came and saw me at the NAMM convention. I talked with them and they said they’d love to do the sauce. It’s made out here in San Diego. I was in from the ground floor. I got to be really vocal and instrumental in putting the whole concept of the sauce together. Unlike Sammy and his tequila – which he really got into – this is more of a fun thing, on the side. I’m not looking to be a hot sauce millionaire, but it is fun and other people like it. We branched out and have a spicy mustard and a barbeque sauce, too. We’re also working on a hot shaker rub type of thing.

I dig the little catch-phrase: “So hot you’ll need two assholes!” That’s classic.

I came up with that. I collect hot sauces and there are so many out there like Sphincter Explosion. I’m sure you’ve seen ‘em. The only thing is that restricts you to the kind of marketing you can do. I’m not going to get into any major grocery chains with that on the label. We’re working on changing the label a little bit because I would like to branch out. I thought it was pretty cool when the phrase came up.

What about doing a solo album? Your songs, your music, your vision. Think we’ll ever see anything like that?

Possibly, yes. I was starting to go that way before Chickenfoot. For a number of years I’ve been going out and playing with Sammy doing some of the Van Hagar era stuff. I don’t want to do that forever. Fortunately, Chickenfoot came up so that’s on hold. But thank God for that, because creatively we’re all doing what we want to do in Chickenfoot. I wouldn’t say I won’t do something like that in the future.

Tell me about those mini replica basses on your site. Those things are sweet!

I though they were cool. A guy came to me with the idea and I thought it was cheesy at first. I’ve seen a lot of people try to duplicate the Jack Daniels bass and had to shut a couple of people down because I didn’t want people exploiting that. Then I decided if that was gonna happen that I should hook up with somebody and see what they wanted to do. It’s just another fun thing to do. I don’t do it to make the money. It’s cool to do it for the fans.

Michael – thanks again. What would you like to say to all the fans and readers?

Chickenfoot is here and we’re here to stay. Enjoy the DVD on our down time. That should fill in the gap from our last tour to our next tour. We’ll be back!

Michael Anthony’s Official Website
Chickenfoot’s Official Website

Jesse, there was definitely a lot of buzz for the new CD “When Moonshine And Dynamite Collide” weeks before it even came out. Let’s start off by telling me what you guys did the first week or so when the album was released.

We dedicated the first two weeks of the release to giving the band to radio stations. The radio stations went out and found strip clubs to host the CD release parties for us. We also filmed a video for “She’s Not A Drug” at the strip clubs. They were all really intimate nights. We got up and ran through “She’s Not A Drug” two or three times with the back track for the video and then we turned the amps on and played a few songs. Then we got to hang out with everybody and sign CDs and take pictures. It was very casual, laid back and very cool!

Doing cool things like goes right along with something else you guys did: You actually called everybody that pre-ordered the album! That easily had to be over 1,000 phone calls.

We were just sitting around talking about what we could do for the people that pre-order it so they know we appreciate ‘em. We thought about sticking picks and bumper stickers in with the CDs, but that’s not really letting them know we appreciate it. Why don’t we just call ‘em and tell ‘em? It grew from that. It turned into a whole different experience than what we anticipated. Once we started talking to people we heard their stories about how they found the band, their first time seeing us, or even how they met their future wife at a Jackyl show. There were also some heavy stories in there – like someone in the family who passed away was a big fan and now when a family member hears a Jackyl song it reminds them of the fun they had with each other. It’s been a hell of an experience and we got caught up in it. We had a blast making the calls.

It really had an impact. I’ve heard stories and I’ve read a ton of stories online about people being blown away that you guys took time out to call them. What you did was definitely appreciated.

Well, we don’t take them for granted. We just look at ‘em all like an extended family. We want everybody to know that rock ‘n roll is still alive as long as we’re still breathing. We made a record that you won’t put on and skip around. It’s one you’ll listen to from beginning to end.

Working in your own studio probably makes sure you’re able to work at your own pace and do things exactly how you want.

We went in and recorded when it felt right and when it was fun. So many of these songs came from us being out on tour and we had a chance to road test a lot of these tunes. It was really cool to road test ‘em first and let that experience bleed onto the tape.

Looking back on Jackyl’s career, it’s almost like you guys have established yourself like a “brand” and not just a band. When people hear “Jackyl” they instantly know what they’re gonna get.

We know people are out there busting their assess off working 40 and 50 hours a week. When it’s time to jam they want to do it loud, proud, hard and honest. When rock ‘n roll was first introduced onto the scene back in the 1950s you had journalists asking girls in poodle skirts what they were digging about rock music. Not one single kid said anything about world peace. They were gettin’ hot and bothered and worked up and not even making it home before they jumped into that big old backseat of a car and knock out the ‘ole dirty-dirty. That’s the fundamentals that rock ‘n roll was based on. Stimulating the glands and feeling that kick drum.

And speaking of the birth of rock ‘n roll, it kinda fits in to my next question. Some people are taking issue with the fact that you have a song called “Just Like A Negro” on the album. You’re just acknowledging the fathers of rock ‘n roll like Chuck Berry and Little Richard.

They’ll give Patti Smith a Grammy and a lifetime achievement award for singing her sound but because I sound like cornbread when I open my mouth people automatically want to assume the negative. They can kiss my ass! I wrote that song with three black friends of mine who play in a band called Mother’s Finest. They had the song “Just Like A Negro” and I actually did a record with them. It was done with Sony but the record never came out. I thought that song was so badass and they told me to rewrite the lyrics so it would make sense for me to sing it. I rewrote the lyrics for a white guy to sing it and it basically says rock ‘n roll came from the black man and music makes all the colors run together. It’s all positive. I love the song. Alice Cooper just told me the other night that he really likes “Just Like A Negro” because it reminds him of when he put out “Dead Babies.” People heard Alice Cooper singing “Dead Babies” and they instantly thought of the negative but it’s really about child abuse. He totally gets it and he played it on his show! I didn’t ever want to have to explain it but if these people need some help understanding it, what are you going to do?

Jesse, thanks for taking time out today. What would you like to say to wrap it up?

The only thing I can say is there is a new Jackyl record on the streets. Go get it, learn the words, come out and help me sing at the shows!

Warren, it’s great to talk to you. It’s been a long time coming, but Infestation is finally out. Are you happy with the way it’s being received so far?

Very happy with the way it sounds and the way it’s being received. It’s really almost beyond anything we’ve ever envisioned.

It seems like Infestation is a huge turning point for Ratt as far as the way the album is being purchased. It’s a monster online with digital sales.

I’m not sure how accurate this is, but a friend of mine was telling me that for every CD sold today that there are eight or nine digital downloads – illegal and a smaller fraction of legal purchases to every one sold. That is one thing that I was expecting and also something that was very different from the last time Ratt released a record.

If you don’t care, I want to jump back just a little bit to when you guys first got back with Stephen Pearcy. Were you guys anticipating another record or was it more of a “test the waters and see what happens” type of thing?

It was definitely more “test the waters and see what happens.” We tried to do a reunion with all surviving members and it worked out to be just the three of us. There was a major tour on the table and it was our chance to test the waters.

Was everybody on edge to make sure this really happened?

It was difficult on many levels. At the same time, it was a very worthwhile thing to hang on and get through. Nothing is easy. That’s what I’ve learned. Well, except making mistakes! That’s easy! I have a natural talent for that.

What about now? Is everybody in the band getting along OK this very second?

This second we’re all getting along very, very well. We’re seeing the result of something we started talking about a year and a half ago. When we played our first official show from the Infestation record it went well. The new material went over great live.

What was it like when you guys got back together to write new material? Was it a group effort from the beginning or how did it work?

The first clue for me was when Stephen Pearcy came back to the band and we were rehearsing for a Summer tour. We got to “Lack Of Communication” and on the record it fades at the end. When that happens you have to come up with a way to get out of it live. I had written an outro for that song that had a riff and a segue with an ending that had several punches to it. We got to the other side of that song and Stephen was like, “What was that new bit at the end?” It was at that moment that he suggested we make a song out of that riff. At that point I realized our creative relationship may be salvageable. We came up with some stuff that we’re really happy with. The song that came out of that riff did end up on Infestation. It’s called “Big Bite.” It wasn’t an overnight process but I got clues along the way. We found the chemistry we always had on that tour. Little by little it gets better.

I think it’s really cool that Carlos Cavazo is in the band. The more I found out about Infestation I discovered that he’s really all over this thing. You don’t hear of the new guy usually getting that much input. What do you think of his contribution to Ratt?

I was counting on that, really. Going back a few years – even before Stephen returned to the band – we were in a place where we thought we would need a new guitarist. I immediately thought of Carlos. About two years ago I ran into Vinnie Appice in a club and he told me about a project he was doing with Carlos. I asked him if I could have Carlos’ number. He said OK and I put it in my phone and it stayed there for about two years. Then the situation did come up where a spot opened up for a guitarist and he was the first person I called.

People may not realize it, but he’s a big part of some of the huge riffs on Infestation.

Yeah, Carlos brought in most of the music for “Eat Me Up Alive” and “Best Of Me.” He really added to everything that became Infestation. He’s great to work with in the studio because we were able to re-visit that double lead sound that Robbin Crosby and I crafted back in the beginning of Ratt. Carlos definitely has history in the genre, ever before Ratt became popular. I remember getting ready for school and seeing Quiet Riot on TV during my last year of high school. It’s an honor for me to work with him.

It’s no secret that I’m a guitar nut – and I’m very particular about guitar tones. The guitars on Infestation sound current but you still stayed true to your signature tone on all the leads. Was it ever suggested to change it up at all for this record?

We definitely had the final say on the way it ended up. We’re open to suggestions but at the end of the day we’re gonna have the final say on what goes down. It was the perfect situation because our producer was a guitarist in a band before he was a producer. We had the best of both worlds from me and Carlos because you’ve got somebody that’s coming from a six-string point of view that’s also at the helm behind the console. That was a great asset for the guitar.

Infestation really sounds like Ratt just being Ratt. The self-titled record that came out in ’99 sounds a little more forced and a little uncomfortable. When you look back at that album, how does it compare to what you were able to do with Infestation?

We had signed a deal to Columbia Records and John Kalodner was Ratt’s A&R man. He applied the same formula that he used with Aerosmith on their records at the time. That was to pair us up with other songwriters. We were open to trying it. When I listen back to it there is some stuff I like very much that I think is just very strong but it really caused us to drift away from what people consider Ratt. There is something about that continuity that was missed on that record. It’s nobody’s fault and every record can’t be a smash.

Warren, I appreciate you taking time for this. What would you like to say to the Ratt fans?

Thanks for giving us the opportunity to keep doing what we love to do. It was really the response to the band at a concert that got us our deal with Roadrunner. Here’s a little snapshot to what happened. We were waiting on our connection at the Atlanta International Airport and Tom Lipsky was waiting for a connection, too. He asked us what we were up to and we told him we were heading to LA for a gig and he mentioned he would be in town. Tom came down to the show. He was putting together a new label with Roadrunner and he said listening to us and seeing the crowd reaction convinced him to make Ratt the first band he signed. Thanks for letting us do what we do. All the best to you all.

Vanessa, it’s great to talk to you. I appreciate you making time for this. Let’s start off by finding out a little more about you. Where did you grow up?

I grew up in Beaumont, Texas.

While you were growing up, what did you want to be when you got older?

I guess all the stuff that little girls wanna be: a ballerina, a clown. Once I focused myself and grew up a little bit I decided I wanted to be an Emergency Medical Technician. Then I saw blood and decided I couldn’t handle that! After that I started dancing and then the natural progression: dance, take pictures, and before you know it – you’re makin’ smut!

If I asked you to look back on yourself as a teenager, how do you remember yourself?

A hermit. Very introverted. Not a popular person. I just didn’t make friends very easily. We moved around a lot and it was really difficult to make new friends. It wasn’t such a bad thing later on in life.

Do you remember something specific that happened or a particular time when your personality changed and you opened up a little more?

I think the opening up started with dancing. I started off in a bikini bar. I worked my way into being comfortable enough to walk up to people, strike up conversations and feel comfortable with my body. I had a good response and I had a lot of good people around me. When I started stripping is when I started to learn more about myself as a woman.

That had to be a huge confidence booster, too.

Yeah, it was. It’s a confidence booster but it also teaches you how to accept rejection. For every guy a girl walks up to and gets a dance, probably 10 guys said no. When you hear “no” all day and you’re half naked…you learn how to accept a lot of things.

Do you remember the first time you were exposed to any adult material – magazines, movies, anything like that?

I thought, “Where are all the black women?” The first woman I ever saw and took a liking to was Georgina Spelvin. I grew up in a household where there was a lot of porn. Nobody really hid sex from me. My grandparents had a lot of her material in their house. I got to sneak in and see some of that stuff. That’s when I knew I wanted to do something where people would look at me the way they were looking at her. I wanted to be in charge of what was happening around me.

Were you thinking about a career back then or was it just a desire for the same kind of attention?

I just wanted to feel the way it looked like she was feeling. At that point, that’s what I imagined sex must be like – the woman is in charge, the woman feels good and it’s all about her. Then I started having sex and I was like “Wait a minute! What’s happening? This isn’t cool. I don’t feel the way it looked like she did!”

And you’re getting your revenge now!

I’ve always had that urge to create that type of sexual environment for myself and the people watching. I see a lot of porn now that looks like it’s no longer about the woman – it’s about a guy’s penis.

It can’t be just for the guys all the time! C’mon!

Men are always gonna get off. I want to make the porn where the guy isn’t going to end up sleeping on the couch if he slips up and leaves it in the DVD player.

But you do want a little shock and awe every now and then…

Not really. I want it to be hot enough for the man to jerk off to but sensitive enough for the woman to watch – and strong enough for her to feel that what she’s watching isn’t degrading. A lot of girls I talk to say that when they watch porn with their man that it usually has the girl being mistreated, she’s being spit on, he’s fucking her with his foot on her head. And the girl looks at her guy like, “You want me to do that shit?! Now you’re in trouble!” I wanted to make a porn that if she caught that shit in the DVD player she might stop and watch it.

What was your motivation early on to do porn? Was it the attention? The money?

The money was already in play. I was a stripper and a cam model first. When I got into porn I did it because I wanted to, not because I needed the money. I guess that’s why I’ve been in it for 14 years now and I haven’t made more than 150 films. Most girls do that in a year.

Has working in Adult turned out the way you thought it would?

It was a lot easier. You didn’t have to worry about all the problems the girls have today. The disease situation wasn’t the way it is now. It used to be a much smaller group of people. Now anybody with a camera can hop into the pool. That makes for all kinds of situations – good or catastrophic. I don’t really perform as much anymore because you see so much – and I mean STDs. There’s a lack of information. There are girls and guys coming into the industry that just see the finished product and they believe that the edit is the raw footage. You get guys that come in here with egos that want to overcharge. It’s just a host of problems that didn’t exist when I first got here.

Do you think there needs to be more regulations – maybe even from the government – for the health side of the industry?

That’s a tricky one to answer! Yes and no. It is a contact sport. It’s like boxing. Those guys swing at each other. There’s spit and blood. You have to accept that this is also a contact sport. It’s a choice we made. Should we be policed by the government? That’s sketchy. Once they step in it could become so clean that it’s not jerkable anymore. People in the industry are concerned that buyers won’t buy if the performers have to put a condom on. I disagree with that opinion. Gay porn uses a lot of condoms and that stuff flies off the shelves. Hot sex is hot sex, regardless if there is a condom between two people or not. A condom becomes a problem because we shoot so much anal sex that it becomes irritating and it creates another situation where the woman is now open to all kinds of STDs and STIs from that rough sex with a condom. There are ups and downs. The government could come in and fuck it up or they could step in and run everybody out. Either way – there is going to be filthy porn. You’re not going to avoid that!

You mentioned earlier that anybody with a camera could jump in and start making porn. What is all of that content doing to the industry?

I think now is the time to start looking at the stars. This industry has spent a lot of time looking at the new girls. With so many new girls it’s hard for the fan to latch onto something. People who could’ve been great get passed up because there are so many people. I think it’s time for the industry to look at the stars that have had time to set up a fan base.

What do you think of all the tube sites?

It’s hurt us. Look at the DVD companies who gave their products to those guys. Some of the tube sites stole and that was fucked up. There are a lot of legitimate tube sites that bought their content. That’s what a lot of people don’t know. The content was sold to them at a dirt cheap price. Who should be mad? How can you be mad at people for looking at stuff that’s free? That’s what people do. If we want to stay in the game we have to make content that’s good enough to purchase.

Let’s talk about your career. You seem to have a take-charge attitude and a real sense of responsibility for anything you’re involved in. You’ve stepped it up a notch compared to what a lot of other performers are doing.

That may be looking to much into it! I love smut. I like naked chicks and I like watching naked guys. I like watching people have sex. I like sneaking to watch people have sex. I am a pervert and I accidentally fucked up and did a porno! Seriously! I was doing fetish stuff and I didn’t want to go any further. I had a girlfriend at that time who said we should do one. I didn’t think we would get the box cover, but we did. That was going to mark me for the rest of my life. I can’t be a square housewife or do anything square so I just decided to finish what I started. It’s not a difficult business. You just have to have some drive.

How involved are you in producing the content on your sites? Are you into the design and updates, too?

That would be my love child! I author, edit, kinda-sorta build websites, and I do everything else. I’m a one stop shop, kinda!

You do so much – what do you want people to think when the hear the name Vanessa Blue?

You shouldn’t be thinking anything! Your balls should tingle. It’s should be automatic, like Pavlov’s dogs! You should hear my name and your balls would be like, “Hey! It’s time to go rub one out, dude!” I don’t want people to focus on what I do. That takes away from the stroke value and what I’m trying to push. I’m pushing tits and ass; something to jerk off to. Hopefully people like it.

Are you constantly working or do you always find some time to chill?

I think it happens when I’m sleeping! Idle hands are the devil’s workshop. I’m always doing something – working on the site, editing, taking pictures.

And if you do what you like it’s not really work, right?

If she’s ugly it’s work! I try to at least make top sirloin out of the hamburger meat!

Vanessa, thanks so much for taking time out for this! What would you like to say to the Rock Confidential readers and all of your fans?

Be on the lookout for my new release coming from Justin Slayer International called “V Is For Vanessa.” It has 11 scenes of all Vanessa. Grandma wants one for Christmas! Buy it!

After the release of Sting in the Tail and a three-year mammoth tour, which will take them across five continents, one of the most successful rock bands in the world, the Scorpions, will be ending their career.

“While we were working on our album these past few months, we could literally feel how powerful and creative our work was – and how much fun we were still having in the process,” said Klaus Meine. “We want to end the Scorpions’ extraordinary career on a high note. We are extremely gracious for the fact that we still have the same passion for music we’ve always had since the beginning.” “So at some point,” added guitarist Matthias Jabs, “it came to us to end our career with this exceptional album.” Rudolf Schenker stated, “The three year tour through five continents is meant to be a huge blowout, where we can party with our fans and say good-bye.” “When I started out, I had a lot of wishes,” Schenker noted. “It’s crazy, I achieved more than I ever even dreamed of.”

We recently caught up with Scorpions vocalist Klaus Meine to discuss Sting In The Tail and what details are in the works for the final Scorpions world tour. Sad that the Scorpions are calling it quits? Don’t be! Check out what Klaus has to say and then make plans to catch them out on the road this summer!

Klaus, let’s start by talking about the new record. We all know now that Sting In The Tail is the last studio album from the Scorpions, but you didn’t know that while you were in the studio did you?

That’s right. We started working on it in the summer of last year. It came up that this might be our final album around November or December, when the album really shaped up. Our manager brought it up first. He told us Sting In The Tail is a very strong record and after we go on another world tour and go back in the studio that it would be really hard to top it. He asked us how long we thought we could keep going on like that. None of us would have brought it up and we all thought he was joking. Then we thought he may have a point. We’ve been doing this for such a long time. After 40 years on this crazy rock ‘n roll train, when is the perfect moment to get out with class and style? When we realized this album might be the right moment to get out, together with a tour that will take us all around the world one more time – that’s when it came up. Not while we were writing the record.

Listening to those songs sounds really reflective – on your career and on your fans. I think it really works as a final record even though it wasn’t planned that way. Those songs do a really great job of summing up everything the Scorpions are about.

Exactly. We did Humanity – Hour 1 with Desmond Child in Los Angeles. It was more a concept album with a big message. We wanted to go back closer to our roots and make a more European album. Working with those Swedish guys – they didn’t really put that much of a “producer’s stamp” on the band. They really tried to support us in getting the Scorpions DNA. We wanted to get the best out of this band and we wanted to enjoy ourselves in the studio. Most of the album we did in Germany. I did the lead vocals in Stockholm. We did a lot of work at home. It was a very relaxed setup and we all had a good time.

I wondered about that. The tone of Humanity seemed almost strained. Was it more comfortable to record a straight up rock album without having to focus on a storyline?

Yes. Absolutely. It was also the creative forces. We were focused more on the inner circle. With Humanity we had the pleasure of working with a lot of outside writers but it’s really a totally different story when you go back to your own creative input. We enjoyed working with Desmond Child on Humanity and we had a great time but it’s completely different when you’re working on a concept album. We wanted to go back to the 80s this time. We feel that style of music is back and coming back in a big way with the younger generation. Who knows what style is next? The last music revolution was not that long ago. It seems that classic rock is making it’s way back and we’re riding on a wave right now.

You mentioned the younger generation. I’m sure because of video games that there are more five-year-old kids that can sing “Rock You Like A Hurricane” than there ever has been!

Jesse, you’re right. It’s funny with all of those games that it’s attracted a whole new generation. I think because of the Internet – being able to watch a concert we did in Siberia or Brazil on You Tube – that next generation is making the decision that this is a band they want to see. I think that explains why we see so many young fans singing along to songs that were written even before they were born.

I was really worried for a while that the Internet would keep people in front of their computer monitors instead of getting out to see a band live. I think the Internet is making people more aware of what’s out there.

The whole world is just a click away at home. To get that emotional feeling when you go to a concert with your friends – that’s something you cannot find on a computer. The recording industry has been going down the past few years but the live side of it hasn’t changed at all. It may even be going stronger. Every band out there that delivers the goods night after night in front of a live audience is the winner.

And speaking of live shows, this massive world tour will mark the Scorpions’ last time out. What can we expect from the stage show on this tour?

We want to take our fans through all the years of our career. We have to play all the classics but there are also a lot of songs we haven’t touched in quite a while. We picked a few songs that we have a lot of fun, like “Animal Magnetism.” We haven’t played that song for a long time. It takes you right back into the 80s. It’s great to hear that those songs work great with the new material from Sting In The Tail. We’ve got a big stage with some gimmicks and effects from the 80s as well. We’re playing around and having fun.

And if you can’t have fun you shouldn’t be doing it at all!

Absolutely. This tour will take us around for two and a half or three years. We’re really looking forward to coming back to the United States in June. We’ll be in South America later this year and next year we’ll go back to Asia. In May we’ll be playing all the big venues back home in Germany again. The album is top of the charts in Germany. When we arrived in Los Angeles – you can’t imagine what it felt like after so many years to have a new album out and have “Raised On Rock” #1 on the charts! We’re all surfing on a wave a excitement right now.

I’m sure you have plans to record some of those shows for a live release.

Yeah, absolutely. Even though this is the last tour and last album, there may be a live DVD and album coming from this.

Do you have any plans to invite former members on stage for a few select dates?

Yeah. Since we did Wacken in 2006, “A Night To Remember,” where we invited Uli Jon Roth, Michael Schenker and Herman Rarebell – we all enjoyed it so much. We thought it was great to bring up those musicians and share the stage with them again. We never did that in the United States but it will depend on their schedule because they are so busy with their own projects. If it works out now and then they are more than welcome. I think for our fans in America this would be very special.

What do you think you’ll do after the end of that very long world tour? I know it’s hard for a creative person to just stop being creative. Do you think you’ll want to do a solo album?

Since I never did a solo album in all of those years, this is something I’m sure would be very exciting at some point. There are no plans right now. We still have such a long way to go but there is no point to make plans right now. But one thing is for sure: you’ll never see us out on the golf course. We will always be creative and we will always be songwriters. I think there will be more challenges waiting for us in life and we’ll go for it!

Tell me about the Rock Walk induction. How does it feel to be honored with the biggest names in rock ‘n roll?

It’s unbelievable. Never in our wildest dreams when we started as young kids going out of West Germany, taking our music all over the world, that after so many years we would be honored. It’s an amazing honor. It feels great to put our hand prints next to those rock ‘n roll legends.

Some people read that the Scorpions are saying goodbye with this album and tour and feel a little sad or discouraged. I think it’s cool to see you guys say goodbye on such a positive note.

That’s the whole idea. We wanted to finish on a high note. We don’t want to slow down on our fans in a couple of years. Right now we’re on top of our game and we enjoy every night on stage. The Scorpions is still a high-energy running machine and we want to keep it that way ’til the very last show. It’s not a moment to be sad. It’s a moment to celebrate! Hey, let’s get the part started!

If anybody needs any inspiration, you guys are on stage every night leading the way. Klaus, thanks for taking time out for this. I respect you and everything you’ve accomplished and I can’t wait to see you on the road this year. What would you like to say to the Scorpions fans out there?

Thank you for all the support for so many years. When we came to America as a young band in the late 70s, we were so proud to be accepted into the rock family. We played with all those great bands like AC/DC, Aerosmith, Van Halen, the Mosters Of Rock. We’ve enjoyed this trip – we still enjoy it. It’s been an amazing ride. Now we’ll ride off into the sunset and we want to do it with all our fans – with all of you. We’re looking forward to seeing everyone on tour and one thing’s for sure: We’ll rock you like a hurricane, baby!

It was just three weeks ago that Vains Of Jenna announced the departure of their long time friend, Swedish comrade and vocalist Lizzy DeVine. However, it’s a new day. Change is now and the band is excited to introduce you to Jesse Forte, the new lead singer and front man for Vains Of Jenna.

“We first saw Jesse in 2009 when his band opened for us at the Cat Club and he blew us away,” says Vains Of Jenna co-founder and bassist JP White.

“We embrace this change, and we welcome Jesse into our family,” says the band.

We recently spoke with Jesse Forte about his new gig, his musical background and how he landed the role as the front man for “the best band in the world.” Check it out.

Jesse, everybody knows you’re the new singer for Vains Of Jenna. Now we just need a little back story. Tell me a little about yourself.

I’m originally from Orange County. I was born in Arkansas but grew up in Orange County. I moved to LA for music about six years ago and I’ve been here ever since. I love it here. It’s always busy and there’s an amazing night life. The music scene, obviously. Every now and then I need a little peace and quiet so I’ll head back to Orange County with my folks and my friends. I can only take so much of that and I’ll make my way back to Hollywood!

Who are some of the bands you listened to when you were younger that always got you fired up?

I didn’t really discover a lot of rock and glam bands until I heard this radio station called Pirate Radio. That’s when I was eight or nine. That’s when I started listening to Guns ‘N Roses and Aerosmith and Bon Jovi. From there I got into a lot of bands like Led Zeppelin and Deep Purple. As far as singers that influenced me, I could name about five or six: Steven Tyler, Glenn Hughes, Jeff Buckley, Elvis. I’m influenced by everything. Anything that makes me wanna move – something I can feel.

Which of those bands or vocalists made you realize you wanted to be a singer?

Glenn Hughes. I was at Musician’s Institute and he came in to do a vocal seminar. I heard him sing live and his voice took over the room.

Tell me about some of the things you did to pursue your music career.

When you see a band and you emulate them it makes you want to start a band. I was in school and got together with some friends in someone’s garage. Two of them had entry-level Fender Squires and someone else had pieced together a drum set. We just started playing and I got into a few cover bands just jamming with some friends. Then I wanted to learn more and get out there in front of more people. I moved to Hollywood and signed up at the Musician’s Institute. I started playing around Hollywood and jamming with whoever was free. Eventually I got into a band called Cast of Kings and did that for a while. There’s another band I sing in every Saturday at the Cat Club called the Lonely Drunks Club Band. The Cat Club and Whisky is where a lot of Hollywood bands got their start. I will always love those venues and all the clubs on the Sunset Strip. I go there whenever I can and just check out live music and hang out with the bands.

What do you remember about your first gig after moving to LA? Were your nervous or were you fired up, ready to blow the roof off?

I was really nervous, mostly because I’d never played Hollywood in a LA band before. I was in other bands and we’d play at the Whisky, but we were based in Orange County. This had me hooking up with people I’d met in Hollywood – people I didn’t know too well. We were going out and playing cover tunes and music we loved. It was intimidating playing in venues where local LA bands played often. We got through it and I was lucky to meet people who showed me the ropes. I really sunk my teeth in and eventually became a Hollywood rat myself! I’m proud of that. I’m out here still having a good time!

What is your ideal image and music style for a band?

It’s whatever you feel comfortable with. For some bands the image is an art form, too. Just like the music. You get together with a bunch of guys who have the same influences and hopefully you’ll create something you can be really proud of. Jamming with Vains Of Jenna is like playing with one person! It’s like one mind. They’re really together – a well-oiled machine.

Just with the new photo shoots I’ve seen with you in the band it seems the “look” of the band has been stepped up a notch.

I definitely like the image the band has and it seems really cool. I feel comfortable in it. It’s not like anybody’s telling us what to wear or to change anything. We just take the lead and do what we feel.

Before you were involved with Vains Of Jenna, what did you like about them – from the outside looking in?

I want to emphasize that I was definitely a fan. I remember coming to Hollywood and I couldn’t walk into any club without hearing their name. The first time I got to see them play was at Paladino’s. I’d been there before – maybe on bad nights – and didn’t really see that many people. Vains Of Jenna played and they packed that place. They put on an amazing show and I thought that was rock ‘n roll to the core.

Tell me how you were approached for the gig.

I was sleeping. I woke up to a phone call from a good friend of mine at the Whisky. She was in contact with Stevie Rachelle and said he wanted to talk to me. I wondered what he needed from me. She told me he was interested in me singing for Vains Of Jenna. What?!? I ended up calling Stevie and he told me Lizzy didn’t want to be in the band any longer and he asked if I wanted to come sing a couple of songs. Fuck yeah I do!

How long was it between that phone call and your actual audition? What songs did you sing?

It was two days. I sang “Everybody Loves You When You’re Dead,” “The Enemy In Me” and “Mind Pollution.”

I know Stevie is anxious and pumped up for what you’re bringing to the band. You must have made a killer impression at the audition.

It made a really big impression on me! I got in there, they put on their instruments, and I could tell from the first song that it was cool stuff. Each one of the guys is an amazing musician and they’re the coolest to hang out with. I’ve jammed with a lot of musicians in Hollywood but the guys in Vains Of Jenna are amazing.

When a band switches up a guitarist or drummer it’s usually a little easier to swallow than a band replacing the lead singer. Do you feel any extra pressure replacing the front man in an established band?

Honestly, no. I don’t. I know Lizzy. I’ve met Lizzy. Those guys are some of the best musicians I’ve ever met, including Lizzy. He didn’t want to do it. The guys truly love their fans a lot. They had a lot of shows booked and people waiting to see them. They didn’t want to let anybody down. Here I am. I don’t sound like Lizzy. I don’t have his voice. I love the songs and I’m honored to be singing them. I don’t know how to feel any other way than to be excited, ya know?

I bet you’re pretty excited about the tour overseas. Have you ever toured out of the States before?

I’ve never played a show out of the States. I’m really excited about playing there and meeting people, just seeing Europe. I’m excited about whatever mischief we may get into!

What’s your input with the band so far? What have you guys been talking about during rehearsals?

It’s a little bit of everything. We just take it wherever we feel. If we feel like going through the songs then we’ll rock ‘em out. If somebody throws out a riff, I’ll sing something to it. We’re definitely working on new stuff. We’re planning on writing new material while we’re on the road in Europe.

Jesse, thanks for taking time out for this. I’d like to say congrats on the new gig and I wish you nothing but success. What would you like to say to wrap this up?

ALWAYS ASK FOR I.D.! I’m kidding! Seize the opportunity and take those risks. You never know where it’s going to take you. Just a few weeks ago I was hanging out doing my thing. I love doing what I do, singing wherever I can sing. Then I was asked to sing for the best band in the world. It’s a dream come true. Honestly, my life has changed. Like I said, seize the opportunity.

VITAL LINKS:
VainsOfJenna.com
VOJ @ MySpace
VOJ @ Facebook

Although everybody seems to have a different account of who came first in the world of New York / New Jersey area thrash metal, it seems certain that New Jersey’s Overkill have stayed around the longest, and have never let their fans down by remaining musically consistent and true to their roots for over 20 years.

With a career that launched in 1984 that produced 15 studio albums, Overkill celebrates its 25th anniversary with the release of Ironbound, a new album, on E1 Music and a North American tour with support from Vader, God Dethroned, Wabringer, Evile and Woe of Tyrants. Ironbound is a thrash metal masterpiece that features Overkill’s latest lineup, which, along with founders Bobby “Blitz” Ellsworth and D.D. Verni, includes guitarists Derek “The Skull” Tailer and Dave Linsk, as well as the newest member to join the band, drummer Ron Lipnicki.

There are few names as well respected as Overkill, and with the resurgence of metal in the music world, this band is poised to return to the top. Overkill are ready to show mature metal heads they still have it and are geared up to teach the new schoolers exactly how it’s done.

Blitz, thanks for taking time out for us today. I’m gonna jump in and say you must be pleased with the promotion for Ironbound.

I am. It’s fuckin’ huge, man. We’ve never taken this lightly. Love us or hate us or if you think one record is better than the other, that’s just normal. When you put everything into a record and then hand it over to someone who takes it lightly, it’s not a good working relationship. With E1 in North America and Nuclear Blast for the rest of the world, we’re just overwhelmed with the response we’re getting for this record. That’s due to the fact of the record’s strength and both of those labels are heavy hitters when it comes to getting the word out. It’s a good relationship, here. It’s a weird world now. I’ve been in the business for so long now that I can look at it objectively from a distance. I know how it was pre-Al Gore’s Internet. I remember putting fliers on windshields to promote yourself and even using faxes. It’s quite a different time. Promotion was much different then. The modern technology has changed the industry but it’s also positively changed the promotion, too. You can get the word out through your website and any of the social networking tools that are out there. Any label that wants to stay current has got to use that stuff.

What about doing interviews. Does it ever get old or redundant to you or do you relish every bit of it?

Obviously it’s repetitive. A lot of questions fall into certain categories. There is opportunity in this. I think that’s one of the reasons Overkill has attained longevity. We recognize opportunity, no matter how big or small. That’s what keeps us grounded to understanding those opportunities. They’re all necessary regardless of size. You have to look at each opportunity as a chance of broadening your metal horizons. I look back and count the years now and not the days. It’s kinda cool.

How long has Ironbound been finished?

We finished it in September. I was still dropping a few vocal things in. You’re never really finished until there is a final mix done. We were finished September 15 but I still recorded bits and pieces here and there up until the first week of October. It was mixed in about 2 1/2 weeks. It was delivered prior to November 1.

Was anything done differently in the studio this time around or have you guys pretty much got your formula nailed down?

We’re always open to new ideas. In regards to technology you don’t have to work together. There’s always a point where we choose to work together. You need everybody there when drum tracks are being done, for instance. Maybe someone will disappear after that. There is that old-school recording principle of being in the room with each other. There’s also a cool thing of not being there in the day but getting a rough mix that night of what they’ve done in the studio. I could pop into a studio I use that’s 40 minutes from here because what they’ve done is awesome and I could change what I’m doing. We adapt as time goes on. We keep the principle that makes metal what metal is, what makes rock ‘n roll what rock ‘n roll is. That being in the same room and creating it together, especially in the beginning. Then we really embrace the technological end of it and can have privacy to ourselves. Our formula is ever-changing.

Was there anything you decided up-front that you wanted to change before you entered the studio? Maybe a certain sound you wanted to work with as far as guitar tones or drums go?

You want a certain cohesive feel between guitars and drums. That’s what you want in metal. I know it’s weird coming out of the singer’s mouth. Whenever I mix it’s really about the drum sound and building from that point up. When it comes to production you have to start with the best sounding drums that you have. Yes, there’s a conscious effort. Our initial vision was changed when it got to Peter (Tägtgren, producer). He could hear it for the first time. He turned some of our original visions and got us on board. You hire a guy for a reason. The reason he hired him is because of his ears and what he’s been doing in the industry for the last 10 years or so. Sure, there’s an initial vision. It changes as the recording develops. The initial as compared to the final can be two totally different things.

I’ve read countless pieces recently where the writer will say something about Overkill sounding more and more old-school with each release. I’m pretty sure that’s just what comes out. There may be obvious hints here or there but I think you guys sound just as contemporary as ever. What some people call old-school is simply just Overkill. What do you think?

That’s a cool take on it. A person’s definition of old-school is different to everybody. One of the things Overkill is – first and foremost – is Overkill. That’s what makes it unique. Sure, it’s within a genre. Maybe even pigeonholed to some degree. With us it’s about progress and evolution. That evolution is about reinventing yourself. If you’ve read interviews with me recently that “reinvent” word always comes up. It’s really about taking a step. If you can really establish the fact that this is your vibe and your style but present it differently without rehashing it, there’s your contemporary value. It’s really a combination of both. It’s rooted in old-school and us knowing who we are. We are what we are. Let the evolution happen.

What was the writing process like for Ironbound? Did you guys schedule a time to start working on a new record or are you always tossing ideas back and forth?

We were coming off the road so there was only a minimal amount of time that we hadn’t seen each other. That’s key to the results on this record. You live many different lives: the personal life, the road life, the recording life. Sure, the person is always the person but when you’re coming off the road into the studio there is a great dependence one has on the other, and the other on the next. That is where assembling this record was easy. There’s a huge trust that you have. When one guy falls we’re there to pick him up. When you go into the studio with that mindset it’s pretty easy to work together at a high level with great results. Regarding the songs and how they’re written, they start with D.D. (Verni, bassist) and the riff. That’s an always ongoing, continuous process. They guy never really puts down the guitar. If an idea comes you have to have a guitar around and something to record it with. I remember back in the early days we had these micro cassette recorders. Everybody had one. Somebody would say they had a great riff and you’d watch some dude whistling into the recorder while the cars are going by. You want me to make a song out of that fucking thing?!? The reality is, it’s soon that you start understanding that this helps you not lose ideas. Some great ideas came from the whistling and humming of riffs into those recorders!

You were doing it way before Beavis and Butthead made it popular to hum the guitar riffs…

That’s right! The one thing about that cartoon is I always understood that! That’s what you’re supposed to do, man. That’s the way it really is.

Would you say there’s a theme to Ironbound? If you say there is, how early on did you realize that maybe all these songs would work that way?

I don’t know if there’s really a lyrical theme. There is to some degree a huge amount of celebration of power with this record, internal or external. Sometimes both. I always write how I’m feeling and I’ve always been a positive cat. I’m not always depressed. I don’t hate the world. I sometimes hate the rules, but I’m not that downtrodden metal guy. My wife doesn’t see that many shows anymore, but she’ll say “There he is with all those fuckin’ big muscles, smilin’ all over the place like a little boy at the circus.” That translates. I do like this. I have complaints within my lyrics but I think this record is a little more celebratory in regards to recognition of power, knowing that it has more to do with those who write it than those who support and listen to it. I think that’s where the power in this whole genre came from. There is a metal community. That’s the feeling that puts us over the top. If there’s a fabric in there somewhere then that’s it.

I know you’ve got some tour dates coming up soon and you’ve seen all parts of the globe. How do you compare metalheads in the States to metalheads in other countries, especially Europe?

I think a metalhead is a metalhead when you come right down to it as far as their love of it goes. I think the presentation over there is different. They have a long-standing love affair of mixing alcohol and music! You can put 100,000 Europeans in a place and the worst thing you see is someone pissing on a fence or a toilet getting lit up. There’s really no felonies! That’s really the difference. When it’s in the fabric of your culture that you can sit down at Aunt Mimi’s house when you’re nine and pop pours you a small-sized draft, it’s not a big deal! When you’re in the States and you turn 21 you just tear it up! People are gonna fuckin’ pay for treatin’ me like a kid all these fucking years! It’s hard to bring that many kids here when alcohol has always been so taboo for us. I’ve tried to do it myself – an East Coast festival. The insurances are so high. As soon as you sign on a beer sponsor you’d have to charge $800 bucks a fuckin’ ticket! That’s not everyone. But if you look where our problems are! We can gather people for a bike rally for Toys For Tots and somebody’s getting punched somewhere!

25 is a magic number this year for Overkill. It’s been 25 years since your first release Feel The Fire. Have you got anything special in the works?

I think we will. It’s business as usual first with these tours. But the second run we’ll have to do something special. That will involve filming and some guests. I don’t think it will be a full tour but maybe singular shows.

Maybe playing the album front to back?

To say yes…I would think so. We’ve talked about it. We’re going to plan it but there’s something about us. There’s always more value in what is today instead of what was yesterday. It’s a great compliment to be here so long. I’m so caught up into Ironbound at this point that I can’t really get excited about what the first record means to other people or to myself. That will happen as we tour I’m sure.

Blitz, thanks again as always. What would you like to say to wrap this one up?

It’s hard to put into words. It’s more about a feeling. There’s a huge amount of gratitude here. If Ironbound is about power and how it works with community and keeping the dream alive – the most important is about the people that have always supported this. Hey, thanks.

Chris, it’s great to talk with you. You’ve always got so much going on we could really talk about almost anything but I want to spend some time talking about the new Fozzy CD. There was a huge buzz online for months about this record. You’ve got to be excited to see it finally hit the streets.

Absolutely. This album has been done and in the can for six months so we’re really excited to unleash it on everbody. You spend time working on a record and you obviously want to make it the best you can. We heard it and realized we had something really special and we wanted everybody to hear it. We wanted to make sure all of our ducks were in a row and make sure we could give it the best possible impact when it was released. This is definitely Fozzy’s “coming of age” record. We really show people what we can do as a band and who we are as a band. It’s very catchy and very hard. It will make Fozzy fans very happy and if they weren’t a fan before I think it will open a lot of eyes.

Not to take away from anything Fozzy has done before, but this album seems like the defining Fozzy album. There was just something about the first listen that made me step back a little and think “this is the one.”

This is definitely as close to a masterpiece as anything we’ve ever done. I think there’s a lot of factors for that. We first started the band as more of a fun thing; just getting together and playing some tunes for fun. We’ve been together for 10 years now. We have a great core of musicians that have the same beliefs. Our last record was kind of our first “real” record, as it was all of our songs and no covers. “Chasing The Grail” is the first time Rich and I wrote songs from scratch. I wrote all the lyrics and he wrote all the riffs. He had my lyrics as he was writing the riffs and putting it all together and playing things back and forth for me. You’re also dealing with a band that had hundreds of gigs under our belt. As a singer I had a lot more control over my voice and the direction in what I wanted to do. Rich knew exactly where he wanted to go with it. From our first ballad to our first 14-minute Dream Theater type of song and everything in between, there’s a lot of diversity. We didn’t really plan to write a ballad or a 14 minute song, it just came out that way. It’s a very honest Fozzy record and the best Fozzy record as far as what we can do as a band after all these years and experiences.

What was the entire writing process like this time around? When did you make the decision that this was going to be the defining Fozzy album?

We just knew because of our experiences. We didn’t have that to work with before. We’ve had a lot of practice and a lot of experience. Rich and I were very motivated this time. The lyrics came from a different place than before. I spent a lot of time on these lyrics. I did research. The “Wormwood” lyrics took three weeks to write. I thought the book of Revelation would make for a great song so I basically read the Bible for three weeks and wrote lyrics accordingly. We never really did any preparation before. Rich always had the riff and I’d put the lyrics to it. We really had a stronger chemistry this time. After our last record we knew we had to follow up with a great set of songs. We knew this could be huge for us if we did it right. I think we did.

I’ve talked to a few people who relied heavily on the Internet when it came to writing new material and making edits. Did you use the Internet to help make this record or were you able to work face to face most of the time?

We sent a few files back and forth but we talked on the phone quiet a bit. Rich lives in Atlanta and I live in Tampa. We just really concentrated on having a lot of communication. We did use the Internet to our advantage but more importantly we just spent a lot of time on the phone exchanging riffs and exchanging ideas. It was like we were in the same room because we were always in contact with each other.

Do you have certain gear or equipment that you prefer in the studio? Did you use anything new on this record?

It’s great because a friend of mine has a studio in Tampa. Rich would come down for a couple of days and we would record, knowing that we could do one or two tracks a day. Four or five hours of constant singing is probably the maximum for any singer. Before, we were on such a time constraint that we would record for 10 hours and we would use whatever we could get. This time we had no deadline. That’s another reason it turned out so good. We started recording in March and we finished it in June. We didn’t have a time line. That really helped. Rich has his own studio at his house and he didn’t really have to go to a “studio” to record. We didn’t have to worry about booking studio time. Another thing that really made a difference for me is I like to put up pictures in the studio of the guys that give me inspiration. I had this awesome picture of Eddie Van Halen from 1978, a photo from Metallica’s Death Magnetic photo shoot. I like having that dwelling in the background. I keep a lot of water and a lot of communication with Rich. He knows how to get the best out of me.

After visiting your website it’s obvious that you’re really dedicated to your fans and making sure they have cool things to keep them happy. It takes a dedication like that to make a difference this day and age. Is that something you take personally?

You have to do that because the music business is such shambles nowadays. People are just taking whatever music they want for free. We’ve done three records and we’ve got ripped off on all of ‘em. The only constant is your fans. The fact that this is our fourth record and we’ve been able to continue on for 10 years is all due to our fans. It started out like “This is Chris Jericho’s band” or “That’s the guy from Stuck Mojo” and it’s turned into people being into Fozzy and our music. We do try to go the extra mile for the fans.

It’s obvious when I see you on VH1 talking about music that you’re a big metal head. Who are some of the bands you listened to growing up?

My favorite band of all time is the Beatles. That’s the band that sucked me in. I was a huge fan of Iron Maiden, Metallica. I love Ozzy. Helloween. Loudness. Kiss. I have a very broad view of music. I also love the Police and the Who. I love Rush and Dream Theater and the prog side. People had a mixed view of what Fozzy was about, likening us to an 80s band. We’re not an 80s band. We have guitar harmonies and that Iron Maiden guitar style but we have a very modern element to us as well. But for me Iron Maiden and Metallica are my two favorite metal bands to this day.

Was it the Beatles that made you think you wanted to be a singer someday?

I loved their harmonies. I think that’s what attracted me to being a singer in the first place.

With a crazy schedule like you’ve got, how is the live situation looking for Fozzy?

We’d like to do as much touring as we can. We did great in the UK. We were playing in front of thousands of people. We sold a lot of records in the US. We want to hit New York, Chicago, St. Louis. Would we do a full-fledged tour and go out for three months? Probably not. My schedule won’t allow it. But we’re definitely going to do as many songs as we can and do these songs live.

Chris, I definitely appreciate your time with this. What would you like to say to your fans and all the Rock Confidential readers?

It’s hard to believe that we’ve been doing this for 10 years. The fact the fans have continued to stay interested is really cool. The fact that we’ve been able to build this band that same way I was able to build Chris Jericho in wrestling means a lot. I’m really excited for people to hear this record. For people that love the band, you’re going to love us even more. For people that have never heard the band, I guarantee there will be a whole lot of new Fozzy fans. We’re ready to kick America’s ass for sure.

Blackie, it’s always great to talk with you. I was looking back at the conversations we’ve had before. The first interview was in 2003 and it seemed as if you were going through a transitional phase in your personal life. It was almost like you were on a mission to find out who you were. Is that a fair statement to make?

To be honest, I realized a couple of years ago that I’ve been doing this since the beginning. Go back and look at the first album. “I Wanna Be Somebody.” If there’s one common thread that runs through every record that we’ve ever done is the whole idea of “Who am I and where am I going?” If we’re going to be completely honest we need to go back to the source.

Looking back, what was going through your mind around the time the first “Neon God” CD was released? You seemed to be doing a lot of questioning. Are those records – including “Babylon” – where you are personally?

Yeah, all of ‘em are. When you’re making records you wake up in the morning and you write down what reflects you at that moment. You can’t worry about what’s going on in the Billboard charts or what’s hot in the marketplace. You’ve gotta write down who you are. You can’t even write about who you were five years ago. That’s not who you are right now. You have to make records that reflect who you are right this minute. That’s the only way to make truly honest records.

Are you at a place in your career where you don’t have a lot of pressures as far as time frames and schedules? I’m sure that would make it even easier to make a really honest album.

That hasn’t really changed. Since we started working on “Headless…” around the end of ’87, it’s been that way ever since. We learned from “Inside The Electric Circus.” That was a tired record done by a very tired band. We’d been on the road for three years. We didn’t even know who we were anymore. The only way you can become reacquainted with yourself is to take some time and back off. You need to ask, “Where am I now, where am I going, what just happened to me?” Since that point nothing has changed.

A lot of people are excited about the release of your latest CD, “Babylon.” The new video is getting a lot of attention, too. People are probably reading too far into the imagery, but a few fans are yapping about the timing of Obama in the video in relation to the lyrics in the song.

I don’t pay attention to that kind of stuff. What’s being said?

I saw a few people likening you to Rush Limbaugh…

(laughs) Yeah, I can see that! We’ll be a new tag team!

But the video doesn’t just show Obama. Vladimir Putin, Hitler and Ahmadinejad make appearances, too.

The gang is all there. Hey man, I’m just playing umpire. I’m calling it as I see it. If folks get upset about it that’s just the way it is. When that guy was running for President…I didn’t know anything about him. Nobody did. He says, “If you want to know who I am, go look at my background. Look at the people I surround myself with. That will tell you exactly who I am.” Fair enough. I did some investigation on this guy and I was horrified! I couldn’t believe that a man like that could even run for dog catcher, much less be President of the United States. I was stunned that this guy sold himself so well. He is the ultimate car salesman. The ultimate cheerleader. What he does is have pep rallies. He’s always there with his teleprompters. He can’t do anything without them and the minute he does try to speak without one he puts his feet in his mouth. He can’t think on his feet. The guys is not qualified to run anything. I thought we couldn’t get any worse when Bush was there. Just when you think it can’t get any worse – look out. I’m not flying the Republican flag here, I’m just calling it like I see it. He’s a con man.

There are so many people that didn’t do any research on Obama and I think they’re regretting it now.

They’re just going on sound bytes. But, this country belongs to them, too. If you’re not willing to do five minutes worth of research then you get what you pay for.

That video touches on subject matter that’s very visual and interesting to people – no matter their religious beliefs.

It is quite colorful. The imagery that opens up sure allows for a lot of different interpretation. Where that came from was really at the end of Bush’s term. They were all going ’round and ’round about this supposed global financial crisis we were in. “Crisis” is politician codeword for “We’re getting read to take some freedoms away from you or pick your pockets some more.” At the same time I was listening to what was happening in the EU. They were having a meeting in Brussels. These guys were talking about how bad we’d screwed everything up and since we couldn’t do it as individual countries that maybe it was time for a one world government. Another guy spoke up and said we should have a one world currency to go with that one world government. Then a third guy chimed in and said that would be perfect because by 2017 we could have the whole of the EU micro-chipped. I’m standing there gawking with my mouth open. Do these guys have any comprehension of what they’re talking about? Do they understand the possible ramifications of what they’re talking about? This is potential 666 we’re talking about. Before I did the record I did a detailed study of the book of Revelation in relation to all of this. I was astonished at the accuracy. Twenty years ago when I wrote “Headless Children” I referred to it. I said, “Four horsemen sit high up in the saddle waiting, ride the bloody trail of no return.” Are we now that much closer to that Armageddon than we were 20 years ago? It makes you scratch your head.

I’ve had an interest in Revelation since I was a kid. I’ve noticed that some people like to put you in a certain group if you keep updated on what’s going on in the world in relation to the Bible. Does that put you in an awkward spot – the vocalist for W.A.S.P.? Some fans are a little confused.

My job is to be a messenger. I’m a reporter. What you do and what I do are basically the same thing. I’m just making it rhyme. If I’m gonna be honest, that’s really the only way to do it. If somebody wants to know how I write a song – I write what I feel and put a backbeat to it. It’s a little more complicated than that but that’s really what it is.

Looking back over the past year, was there a definite change in point in how you wanted to present your band?

No. The line in the sand was “Headless.” That’s what I was feeling at the time. I remember when EMI and Capitol heard the original demos to that record. They were not pleased. They said it didn’t sound like W.A.S.P. and it wasn’t what was going on in the marketplace. They told me it wasn’t the record I should be making. Fortunately for us, we had a thing built into our contract that gave us final say. We had “Right Of Refusal” over anything. Hardly any band ever gets that. That means we’re going to do what we want and if you don’t like it, too bad. They were patting me on the back as they sent me out of the room. That was them saying if the record fails we’d be out on our ears. That’s a great way to send a guy into the studio with a positive attitude! Lo and behold it became the biggest selling record we ever had. The bottom line is that separated us from what we came from and everything else that was going on as it related to that genre at that time. We carved our own niche. That’s why I say that’s where the line was drawn in the sand. About 15 minutes after we did that record the industry started to change and this genre of music changed radically. Had we not cut and run when we did I wouldn’t be sitting here talking to you today. When the boat sank we would’ve been in it with the rest of ‘em. We made a record that was reflecting our soul at the time.

What about “Babylon”…Do you remember putting down the first idea of what would become that record?

It started with the story I told you earlier about the EU meeting. “Babylon’s Burning” became the first real song on the album. The first song we record for the session was the old Chuck Berry song “Promised Land.” That wasn’t intended to be on the record. When you haven’t been in the studio in a while you’re looking for a way to get your feet wet again. Playing live and playing in the studio is two different universes. When I was writing “Babylon’s Burning” I was doing my study of Revelation. I wanted to make sure I had my facts straight before I started putting pen to paper.

What was the recording process like this time around? Was it all face to face or did you use the Internet to track and edit some?

We still do it the old fashioned way. We get together and do pre-production and rehearsals. We have an analog studio that we built 20 years ago. It’s more expensive to do it like that, but if you’re going to make an expensive sounding record there’s only one way to do it. You’ve got to spend the money. It’s more time consuming but the end result speaks for itself. The sonics that come off that record – the depth, the dimension, the thud – you can not get that out of digital recordings. I don’t care what anybody says. When we’re working we’re literally working within a very close proximity to each other. We’re feet away from each other when we’re rehearsing.

You spoke earlier of making an honest record. You can’t get more honest than recording to tape!

We have an old expression: “Uncle tape don’t lie.” You better like it when it’s going down ‘cuz there ain’t no changing it!

What are your touring plans looking like so far?

We start the US leg on February 26.

What about your set list? How many do you plan on including from “Babylon”?

We do the title track and “Crazy.” The show’s about an hour and 45 minutes.

Will we see the infamous mic stand on this tour?

No, Elvis is getting this tour off. What we’re doing on this tour is we have this big movie screen behind us. We’re using the promo videos. Everything from now going back 25 years. The video plays behind us but we’ll be playing in sync to that video. It creates a pretty cool 3-D effect. You see us in the movie screen singing and then you see me singing on stage, in time with the video. It’s neat to watch the audience because they’ll watch the screens for a second and then they’ll watch me for a second and it goes back and forth. It’s cool because you’ve also got two bands playing at the same time. It creates this spectacle and it goes on all night like that.

Are you going to have little Ghoulies pop out and run around the crowd?

You don’t need it! We’ve never done “Scream Until You Like It” but we’re doing it on this tour. We use part of the movie when that song comes up and it’s going to be really cool.

Blackie, it’s been great as usual. What would you like to say to wrap everything up?

Mark down on your calendar when we’re going to be in your town. We’re going to be out until Christmas of this year so we’re going to be hitting a lot of places. I’m sure we’ll be close to your neighborhood!