Taking a cue from great Irish band The Pogues, Flogging Molly combines its divergent influences into a hearty Irish brew - a pint of bitter, shared with a friend who knows where you’re coming from, because he’s been there too.  Flogging Molly’s everyman ethos is rooted in singer/songwriter Dave King’s upbringing in Dublin, Ireland; the band’s music a spirited fusion of classic country, traditional Irish folk and punk rock attitude.   

In the mid-80’s, while the most of the Pepsi generation was glued to MTV, those in the independent music scene with their ear to the ground caught wind of something more sinister.  After spending its infancy the previous year as Hellhammer, Celtic Frost roared to life in the summer of 1984.   

Interestingly, while the look and sound – and in many cases, the lineup - of Celtic Frost may have changed a bit over the years, one thing has remained constant – Tom G. Fischer.  The Fuze called Tom at his Switzerland home recently to discuss the rebirth of Celtic Frost, the monolithic slab of rock that is ‘Monotheist’ and why he doesn’t play guitar like a girl.  Shh…it’s ringing… (full interview)

In the 25 years that Eric Adams has fronted Manowar, he has peddled images of courageous, honorable warriors in the epic metal songs that Manowar is known for.  The band has amassed a following worldwide, a fan base dedicated to the ideals that Manowar seems to embody.  As a vocalist, Adams stands in a class all his own.  Few in the genre – or any genre - have the power and range that he possesses, nor the dedication to their craft.  For Adams , that commitment extends beyond the music he is known for.       

 Adams is equally knowledgeable and passionate about the subject of hunting, and his respect for the wildlife he hunts is evident.  Read on for a glimpse into Eric Adams’ and Chester Moore’s ‘Wild Life & Wild Times’, and to find out why the singer was making turkey calls in a Texas hotel.  (full interview)

Terry Reid inspires as much reverence among music aficionados as the likes of Gram Parsons or Free’s Andy Fraser, the three making up some sort of lost triumvirate of enigmatic musicians who made their mark and then disappeared.  Since releasing his debut single as a teenager in 1967, Terry has run in the same circles as rock greats Cream, Jimi Hendrix, The Rolling Stones, Joe Walsh and Crosby Stills & Nash – even if his name does not spark the same immediate recognition.  The story most often told about Terry is usually spun as “the one that got away” – in 1969, he declined an offer to join Jimmy Page in the New Yardbirds, a group which eventually conquered the world as Led Zeppelin.  The Fuze tracked down Terry Reid at his home in Los Angeles to talk about his new album, his old friends and to take a mental journey back inside Abbey Road’s famous Studio B.  Meet ‘Superlungs’ himself, Terry Reid. (full interview)

Jake Stigers is a New York-based singer / songwriter whose debut album, ‘Comin’ Back Again’, has been garnering both popular and critical acclaim since its release.  The harder rocking sibling of jazz artist Curtis Stigers, Jake’s music has been drawing favorable comparisons to classic artists like Mick Jagger and David Johansen, as well as more recent artists such as Soul Asylum and Wallflowers.  The Fuze spent the morning of July 4^th, 2005, talking with Jake Stigers about his humble beginnings in Boise, Idaho, his current New York state of mind, and how he assembled a drum kit with a ball point pen and Christmas tree stand! (full interview)

Andy Fraser is finally free.  Although he began his career as the leader of the British blues rock group Free, it has taken him the better part of thirty five years to truly embody all that the name implies. 

Andy Fraser was all of fifteen years old when he was handed a gig playing bass in John Mayall’s seminal Bluesbreakers band.  The gig came through Fraser’s mentor, British blues godfather Alexis Korner, whom he had befriended through Korner’s daughter.  Although Fraser’s tenure with the Bluesbreakers was to be short lived, it did pair him with future Rolling Stone guitarist Mick Taylor, and turn enough heads that he caught the attention of vocalist Paul Rodgers, drummer Simon Kirke and guitarist Paul Kossoff when they were looking for a bassist to fill out their ranks.  The four young men conspired to jam and, in May of 1968, Free was born.  In early 2005, false rumors of Fraser’s death surfaced and spread quickly across the internet, alarming friends, family and fans alike.  A rebuttal came from Andy Fraser himself, via his brand new web site.  Along with that came news of a new album, ‘Naked…and finally free’, and a desire to return to the music scene with some of the most personal and invigorating music of his career.  Andy Fraser is a gay man, living with AIDS – a key point that factors heavily into the heart and soul of the new album.  He is also more committed than ever to expressing his newfound freedom – both artistic and personal – through his music.  ‘Naked…and finally free’ is at once a declaration of survival and a reminder that he still has a lot left to offer.  The Fuze is pleased to present a conversation with the enigmatic Andy Fraser, who discusses his days with Free, his rebirth and why everything’s all right now.  This is Andy Fraser: Free At Last.  (full interview)  

As a member of the chart-topping group Toto, Steve Lukather has enjoyed success on the strength of such FM radio staples as “Hold the Line”, “Africa” and “Rosanna”.  As an A-list session musician, Lukather has lent his talents to an almost endless string of hit records by artists as diverse and successful as Boz Scaggs, Alice Cooper, Chicago, Elton John, Michael Jackson and Van Halen.  Nary a pop, rock or soul album was released, between 1975 and 1990, that didn’t have at least one or more members of Toto on it.   

For all the success the members of Toto have achieved commercially, both as a group and as individuals, they have endured their share of turmoil and heartbreak.  Adding insult to injury, they have always been treated as a red-headed stepchild by much of the music press.  While that may undermine the confidence of more image-conscious bands, Steve Lukather shrugs it off with a laugh.  Toto (whose name has nothing to do with The Wizard of Oz, by the way) is nearing the 30^th anniversary of its first album, and returns to the studio in February, 2005 to begin work on their latest opus.  Steve spent a recent morning chatting with The Fuze about his session work (for an exhaustive list, go to www.stevelukather.com), the future of Toto and why touring with the Ramones just wasn’t a good idea.  We found Steve to be funny, outspoken and a great storyteller.  Hold the line for Steve Lukather…(full interview)  

What do Beyonce, Big Bird and the Beacon Theater in New York City have in common?  Bob McGrath.  McGrath is best known as Bob on ‘Sesame Street’, a place he has called home for over thirty-five years.  It is his considerable experience as both a musician and teacher that has led him from his early days as a soloist with Mitch Miller’s orchestra to his current role as author of numerous award-winning children’s albums and spokesman for music education. 

 Since stepping onto ‘Sesame Street’ in 1969, Bob McGrath has enjoyed an almost unheard-of run of success on the celebrated program, which has remained an invaluable influence in the lives of at least two generations of children.  These days, ‘Sesame Street’ takes up a lot less of his time than it used to.  And while paring back his television schedule, Bob has been steadily increasing his schedule of live concerts and recording.  At times he has worked with such musical luminaries as Leonard Bernstein, Beyonce and Nils Lofgren.  Bob’s latest project affords him a starring role in a holiday musical at New York’s renowned Beacon Theater.  Todd Seely of the Fuze recently phoned Bob McGrath at home in New Jersey.  Bob was happy to talk about being a singing idol in Japan, the fight for music education and the people that he meets when he’s walking down the street each day.  This Fuze interview is brought to you by the letter “B”.  (full interview)

Schenker enjoyed an immensely successful - albeit tumultuous - run with UFO, culminating with the release of the live record ‘Strangers in the Night’.  By his early twenties, Michael Schenker had not only influenced a generation of aspiring guitarists, but was also leading the Michael Schenker Group - MSG.  Despite working with some of the top musicians and producers in the business, MSG somehow fell short of the level of success in America enjoyed by Scorpions and UFO.  Meanwhile, music press worldwide was hailing Schenker in the same breath as players like Gary Moore and Ritchie Blackmore.  In the late Eighties, Michael Schenker eased the reins on MSG, welcomed aboard singer Robin McAuley, and altered the moniker to McAuley Schenker Group.  The new MSG enjoyed more widespread appeal, but also diluted Schenker’s potency.   

In 1994 the classic UFO lineup reunited for an album and tour; however, infighting and substance abuse derailed any long-term plans and, in the end, Schenker resurrected MSG.  In the years since resurrecting MSG, Michael Schenker has undertaken a grueling release schedule of both solo and group recordings, the latest of which, ‘Schenker/Pattison Summit’, was released in early 2004.  The Fuze recently contacted Michael Schenker at his home in Arizona.  Michael talked about UFO, his dislike of German beer and why Scorpions are better off without him.  This is Michael Schenker – a chat with the mad axeman.  (full interview)

White Sister was one of those bands that never quite achieved the success it deserved.   Despite being signed to a major label, working with a well-known producer and writing songs that bettered their more well-known peers on more than one occasion, vocalist/bassist Dennis Churchill-Dries and company struggled to keep their heads above water throughout most of the Eighties.  In the years since, White Sister’s catalog has been re-released on CD, and information on the band has been more forthcoming thanks to CD reviews and favorable mention on various fan sites.   Original LP releases by White Sister are considered melodic rock classics, and are still actively traded by collectors on the internet, thanks to auction sites like eBay.   As a matter of fact, eBay played a hand in hooking The Fuze up with White Sister/Tattoo Rodeo vocalist Dennis Churchill-Dries.   We embraced the opportunity to play “catch up” with Dennis, who talked about the headaches and lucky breaks he experienced as a member of one of melodic rock’s lost classic bands, White Sister.   This is Dennis Churchill-Dries, straight from the heart. (full interview)  

At the time that Lizzy Borden released its debut EP, ‘Give Em the Axe’, the Southern California music scene was ripe with commercial hard rock bands like Dokken, Ratt and Quiet Riot seemingly falling out of trees all over town.  But bubbling just under the surface was a subculture of bands like Armored Saint, Slayer and Lizzy Borden – bands which were charter members of, and sailed under the flag of, Brian Slagel’s Metal Blade Records.  Lizzy Borden, the man - with his shocking mane of frizzed-out hair and assortment of gruesome stage toys - was as over the top as any of them.  Sure, the menace bordered on parody at times, but the music was pure muscle – powered by tag team guitars and Lizzy’s shrill vocals.  Within a few years, Lizzy Borden had honed its sound into a tight, somewhat progressive brand of metal not unlike Queensryche.  Things were going well until the bottom fell out of the metal scene in the early Nineties.  Despite a short return at the turn of the millennium, Lizzy Borden remains effectively out of circulation.  Or does he?  In late 2004 comes the debut release by Starwood, featuring vocalist Lizzy, drummer Joey Scott and Marten Andersson – the core of the Lizzy Borden band.  The Starwood album, ‘If It Ain’t Broke, Break It’, is a stripped-down, high octane whirl through trashy glam-rock, owing more to the New York Dolls than to Iron Maiden.  Curious as to why nobody was trumpeting this album as the return of Lizzy Borden, we contacted Metal Blade Records, who put us in touch with Lizzy.  He spent some time talking with the Fuze about Starwood’s “don’t ask, don’t tell” identity and why he’s leaving his alter ego behind, at least for now.  You axed for it, you got it – Lizzy Borden!   (full interview)  

Les Dudek is one of the great, unsung guitar heroes of the classic rock era.  His name may not be as familiar as the Allman Brothers’ and Steve Miller’s, but Les contributed to the albums that would come to define those artists. 

Les’ career took off after an early opportunity with the Allman Brothers.  Following Duane Allman’s death, Les was brought in to help record “Ramblin Man” and, later, “Jessica”.  His work would go largely uncredited, but not unnoticed.  Boz Scaggs snatched Dudek up, producing Dudek’s first solo album and forging a musical partnership that would result in Scaggs’ classic ‘Silk Degrees’ album, with its hit single “Lido Shuffle”.  While working with Boz, Dudek befriended a group of musicians with whom he would work extensively; those same musicians later enjoyed a wildly successful career as Toto.  In 1980 Les formed Black Rose with Cher, releasing one of the more rocking endeavors in her entire catalog.  The two became quite close, and their association lasted into the mid-Eighties, when they appeared together in the film ‘Mask’.   

In the intervening years, Les has continued on as a solo artist, always seemingly just outside the spotlight.  In the 90’s he released the acclaimed ‘Deeper Shades of Blues’ album, and just recently unveiled ‘Freestyle’, a retro-fueled mix of songs both new and old, and featuring contributions from Stevie Nicks and Jeff Porcaro, among others.  We tracked Les down at home in Florida recently, where he was working on some TV jingles, and spent a few hours chatting about Florida living, his new album and the road almost taken to Vietnam.  Settle in – this is a long one!  Let’s go freestylin’ with Les Dudek!    (full interview)  

Alphonse Mouzon first strode onto the jazz scene in the early Seventies, making his mark as a session musician before setting the fusion world alight with Weather Report, Larry Coryell’s Eleventh House and his own celebrated solo work.  Adorned in colorful leathers, pimp hats and platform-heeled boots, Mouzon stood out from the crowd in more ways than one - his high octane, precision drumming powered both exhilarating odd-meter fusion pieces and beautifully simplistic instrumental passages.  More often than not, he left even his contemporaries shaking their heads in admiration.   

As the fusion scene changed, so did Alphonse Mouzon’s taste in jazz.  When he was not busy working with the likes of Miles Davis, Al DiMeola and Wayne Shorter, Alphonse continued his successful solo career.  R&B and funk made their way to the fore, and Mouzon worked those sounds into a kindler, gentler form of the genre – smooth jazz.  He was rewarded with a series of chart-topping album releases.  In recent years, Alphonse has showed no signs of slowing down.  Currently in the process of nurturing several albums to completion, Mouzon found a few free minutes to chat with The Fuze about being a drummer, a teacher, a father, an actor and why he should have played Huggy Bear in the movie version of ‘Starsky & Hutch’.  It’s time to get a groove on with Alphonse Mouzon. (full interview)

Tesla stepped into the national music consciousness in 1986, with ‘Mechanical Resonance’, a debut album bolstered by heavy rotation of the smoking six-string attack of lead single “Modern Day Cowboy”.  The band quickly found itself in the support slot for one of the major tours of 1987, Def Leppard’s ‘Hysteria’ tour.  The band’s stock continued to rise with the release of subsequent albums and singles, including “Song and Emotion”, “Love Song” and an acoustic cover of the Five Man Electrical Band’s “Signs”.  Tesla reached a boiling point in the mid-90’s, however, and the members went their separate ways for nearly a decade.  Bands like Soulmotor and Bar 7 kept some of the members busy, but neither band enjoyed the acclaim or fan support reserved for Tesla.  After a number of years apart, Tesla reunited for a series of tentative reunion shows.  When it felt right the band members joined together and hit the road again to test their renewed kinship.  In 2003 the band returned to the studio and in 2004 it unveiled its first new studio album in ten years.  Then they took to the road again.  One stop on the tour was a headlining slot at the 2004 Bolin Music Festival. (interview)

Detroit, Michigan has long been the heart and soul of American music.  In the days before the hippy movement on the West coast, and prior to the British Invasion, Motown defined American music.  And through its influence on a young generation of musicians, the Motor City helped to redefine the music of the Seventies, from MC5 and Iggy Pop to Alice Cooper and Bob Seger.  One of the most powerful acts to emerge from Detroit was the Ted Nugent band, led by the “Motor City Madman”, Ted Nugent, and fronted by vocalist Derek St. Holmes. 

The Fuze managed to get ahold of Derek to find out what he's been up to, poke around the past a bit and find out why he's a magnet for trouble. 

This is Derek St. Holmes, then and now.

(full interview)

Carmine Appice first rose to fame with Vanilla Fudge, a band whose sound was as thick and delicious as its namesake.  The Fudge, as they were known, commandeered pop and soul hits of the day, decelerating them into thick, psychedelic-tinged slabs that were much heavier than their radio-ready counterparts.  Most celebrated of the Vanilla Fudge conversions was “You Keep Me Hangin’ On”, one of the heaviest songs of the late Sixties.  The core of the band’s sound remained, up until its dissolution in 1970, the hypnotic organ playing of Mark Stein and the tight, measured drumming of Carmine Appice. 

Following the breakup of the band, Carmine and fellow Fudge Tim Bogert formed Cactus, itself a short-lived precursor to a union with Jeff Beck as Beck, Bogert & Appice.  As the mid-Seventies wore on, Appice made a name for himself as a session drummer and eventually took up residence as a member of Rod Stewart’s band from 1976 to 1981, a partnership that resulted in the #1 smash “Do Ya Think I’m Sexy” and #5 hit “Young Turks”.  The 80’s were some of Carmine’s most prolific years, as he worked with artists like Ted Nugent, Ozzy Osbourne and his own bands King Kobra and Blue Murder.  At the tail end of the 90’s, Carmine reunited again with his cohorts from Vanilla Fudge.  The group resuscitated the slumbering Vanilla Fudge sound, revisited their back catalog and hit the road touting new versions of Fudge classics.  In the spring of 2004, Vanilla Fudge toured Europe to the delight of fans and friends – including one Robert Plant, who joined the band onstage for a jam, and regaled the audience with accounts of The Fudge’s courtesy to a fledgling Led Zeppelin years ago.  As of this writing, Vanilla Fudge is sitting on two imminent DVD releases, and will be a featured artist at this summer’s Bolin Music Celebration.  Todd Seely of The Fuze called Carmine Appice in Los Angeles to talk about one of the busiest years in his band’s history, his “war” with brother Vinny over the family name and a strangely surreal plane trip.  We hope you enjoy this delicious piece of Vanilla Fudge.   

The Band name has long been synonymous with films of the fantastic and the macabre.  Producer/director Albert Band began the family tradition in the Fifties, with a series of epics and schlock-fests like ‘I Bury the Living’ and ‘Hercules Vs. the Sea Monster’.  Eldest son Charles Band later continued the Band film legacy with his own Empire and Full Moon Pictures, producing genre benchmarks like ‘From Beyond’, ‘Prison’, ‘Puppet Master’ and Empire’s coup de grace, ‘Re-Animator’.  And it was younger son Richard Band whose music supplied the pulse for – and often breathed life into – much of the Empire and Full Moon film canon.   (full interview)

Bobby Rondinelli debuted on the international music map with his appearance on Rainbow’s ‘Difficult to Cure’ album in 1980.  The record was the first of many to showcase Rondinelli’s neat, precise style of drumming – his playing has always served the song, and never the other way around.  Bobby quickly made a name for himself, and in short order began to accumulate accolades in fan polls and industry publications alike. 

The mid-80’s found him in demand as a session player; Rondinelli appeared on albums by German rockers Scorpions and Doro, as well as with his own band Rondinelli, which featured the drummer’s brother, Teddy, and late singer Ray Gillen.  The early 90’s found him in the studio and on the road with Quiet Riot, and in 1993 Bobby joined the first of two of heavy rock’s grandest establishments, Black Sabbath.  One album and two tours later, following his departure from Sabbath, Rondinelli found a permanent home with Blue Oyster Cult.  Recently, Bobby took up with another group called The Lizards.  Based in New York, The Lizards pay homage to classic rock tradition with blues-rocking, funk-laden grooves that are at once fresh and retro.  The Fuze called Bobby Rondinelli at home in New York recently.  Bobby was happy to talk to us about The Lizards, The Fudge and how his six year old granddaughter helped him overcome writer’s block to finish an album.  Get into a New York state of mind, and enjoy our chat with Mr. Bobby Rondinelli. (full interview)

To attend a concert by Atomic Punks is to be transported back to 1981 – when proverbial rock dinosaurs Van Halen ruled the earth.  Atomic Punks faithfully recreate a moment in time when the Sunset Strip was the epicenter of the biggest explosion in recent music history, and David Lee Roth-era Van Halen was the root of it all. 

Ralph Saenz has been fronting Atomic Punks since 1994.  The band is so firecracker-hot that several members of Van Halen have proclaimed Atomic Punks to be as close as one could get to the real deal without actually being a member of Van Halen.  Bassist Michael Anthony has even seen fit to perform with the band on several occasions.  David Lee Roth has even seen fit to steal the band’s guitarist twice.  And the group’s reputation has seen them playing in front of sellout crowds all across the United States.  Following a recent Atomic Punks appearance in Las Vegas, Fuze writer Todd Seely fired off an email to singer Ralph Saenz.  Saenz, who, in an astounding transformation becomes David Lee Roth when he raises the microphone to his lips, was kind enough to hammer out a little Atomic Punks history and philosophy.  Ralph Saenz’ love of Van Halen, and all it stands for, is readily apparent.   Allow us to introduce Ralph Saenz, Atomic Punk.   (full interview)

Sheila E. has made a name for herself as one of the preeminent percussionists in music today.  Her resume cuts a swathe across genres as diverse as Latin jazz, pop, r&b and soul, and includes associations with music giants like Prince, Stevie Wonder, Ringo Starr and Marvin Gaye.  And her Grammy-nominated work as a solo artist has yielded chart-topping fare like “The Glamorous Life”, “The Belle of St. Mark”, “A Love Bizarre” and the #1 smash “Hold Me”.    With so much going on in, it was a wonder that she had a few minutes available to sit and chat with The Fuze.  She made the time, and we made the call.  We hope you enjoy this glimpse into Sheila E’s glamorous life. (full interview)

Nexx was formed in Madrid, Spain in 2000 - the result of a union between guitarist Bernardo Llobregat, bassist Jose Ángel De La Banda, drummer Oscar Pérez and keyboardist Fran Rodríguez.  The intent of the band was to pay homage to melodic rock icons like Journey, Toto, Harem Scarem, Mr. Big and Extreme.  By 2001 the group had solidified its lineup with the addition of vocalist Patricia Tapia, and it began carving a niche into Madrid’s music scene doing exactly that.  

After hearing ‘Colours’, The Fuze managed to contact Fran Rodriguez of Nexx for an interview.  Although the band’s songs are in English, Fran is the only one who speaks English with any fluency.  And so, to have the entire band involved, it was decided to conduct this interview by email.  We think you’ll agree that Nexx has a better grasp of English than we have of Spanish!  (full interview)       

Spring of 2004 found Henry Rollins on the road in support of an innovative new spoken word DVD.  The Fuze called Rollins in Boston, just a few dates into his tour.  As he warmed into our conversation we were surprised to find him quietly enthusiastic.  And you’ll be surprised to find he flies the flag for the underdog.  Just when you thought you knew him… (full interview)  

Fin Costello Almost thirty-five years ago, Fin Costello accepted an invitation to photograph a few bands at a London gig with a friend.  That evening changed his life.  Although he did not know it at the time, he was about to take photographs that would set his life careening through some of the greatest moments in rock history.  Through his lens Fin viewed the lives of both musicians and fans, onstage and backstage, and captured music – the raw, visceral experience of music – on film. 

The Fuze called Fin at his studio in London recently; he took us back to the heady days of London, circa 1970, when rock was young and the legends had not yet been created.  Here, then, is our shot of Fin Costello: Through the Camera Eye. (full interview)   

King Karma

Rock and roll used to be about plugging in, turning up and letting go.  But as rock has aged and changed, that simple formula seems to have been forgotten for the most part.  Unless you ask King Karma.  The Vancouver-based band has been wowing audiences and critics with an album full of brass-knuckle riffery that brings to mind such greats of the genre as Bad Company, Riverdogs and maybe a whiff of Zeppelin. Formed by bassist Todd Ronning and guitarist Markus Wolfe in the late 1990's, King Karma kicked into gear with the addition of drummer Rick Fedyk and vocalist Shaun Williamson.  Williamson’s voice was a perfect fit for the band, splitting the difference between the smoothness of Riverdogs’ Rob Lamothe and the snotty croon of AC/DC’s Bon Scott.  Helping King Karma to get the ball rolling was legendary Muscle Shoals producer Jimmy Johnson, who was sold on the band before its lineup was even solidified. Johnson, known for his seminal work with the likes of Bob Seger and Lynyrd Skynyrd, set himself the task of presenting King Karma to the world properly.  The resulting album is a bruising, soulful concoction, served up with a dash of Southern charm.  In mid-February, 2004, The Fuze contacted Todd Ronning to talk about King Karma’s debut album and dig up the band’s roots.  Hail to the King.(full interview)

gODHEAD

Since its inception over a decade ago, gODHEAD had been knocking at opportunity’s door.  It was only in 2000 that the industrial-strength quartet made real inroads, as electro-shock rocker Marilyn Manson opened that door by signing the band on his brand new postHUMAN record label.  gODHEAD recorded their major label debut (their fourth album overall) ‘2000 Years of Human Error’, and over the course of the next year, the band found itself sharing concert billing with the likes of Manson, Static-X and Rammstein even as its own reworking of the Beatles classic “Eleanor Rigby” made waves on radio and MTV.  Perhaps the greatest exposure they had was as a featured act on the 2001 Ozzfest tour. 

Two years after the release of ‘2000 Years of Human Error’, having moved away from Marilyn Manson’s suffocating influence, the members of gODHEAD found themselves sitting on the aptly titled ‘Evolver’ album.  For ‘Evolver’, the band peeled back a few layers of keyboard samples to expose the muscular, guitar-laden sound of their live shows.  Hailed by some as their best work yet, other fans had mixed feelings about the shift in sound.  But according to vocalist Jason Miller, longtime fans of the band have nothing to worry about – the band is simply exploring its potential.  Just over a month into 2004, gODHEAD has finished a new video and is preparing to hit the road again in support of ‘Evolver’.  Vocalist Jason Miller called The Fuze to talk about the new album, how to play industrial music on acoustic guitar and the evolution of gODHEAD.(full interview)

Following the breakup of Rainbow, Joe Lynn Turner released a solo album, ‘Rescue You’ and began what is to this day a lucrative side venture as a session vocalist.  Albums by the likes of Billy Joel, John Waite, Cher and Michael Bolton all contain Joe’s signature vocal work.  The late 1980’s found Joe filling a vacancy in Yngwie Malmsteen’s Rising Force, a carbon copy of Ritchie Blackmore’s Rainbow.  The formula paid off, however, with a hit single, “Heaven Tonight”, and heavy video rotation on MTV.  In 1990, Blackmore drafted Joe into Deep Purple in one of the most controversial periods in that band’s long career.  The resulting album, ‘Slaves & Masters’, was both rejoiced and reviled by the group’s fans.  Following that ill-fated union, Joe set himself the task of resuming his solo career, which he has done for the past decade.  In addition to an endless parade of guest sessions and side projects, Joe has formed a successful partnership with former Deep Purple vocalist Glenn Hughes.  And Joe is once again enjoying heavy airplay on TV and radio, singing on a series of international ad campaigns.  Joe managed to find time in his schedule for a chat, so The Fuze called him to get the lowdown on his new solo album, his plans with Hughes/Turner Project and what’s on the other side of the Rainbow.  Say hello to the spotlight kid, Joe Lynn Turner. (full interview) Thank you to Lisa Walker (To The Max - www.joelynnturner.com)