CVSW January 2014

JANUARY Issue

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THE Custom Lifestyle Magazine for Car, Motorcycle, and Music Enthusiasts

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Contents...

CV SouthWest at the Show...T.O.D. & Orgy at LVCS (with Mystic Photography) Order from Chaos: Brien DeChristopher’s Equipment Blog The Jimi Hendrix Music Academy Gear the Pros Use...featuring T.O.D. guitarist David Nacca Mystic Photography Band Spotlight: Wayne Static News You Can Use, Motorcycle Edition...What “Cagers” Need to Know About Motorcycles News You Can Use, Car Edition...What is Some of the Worst Driving Advice from Parents?

Tattoo Gallery...readers send in pics of favorite tattoos

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Sherry Keith, as always, highlights the incredible local concert scene with pictures from Orgy, Finntroll, Heavy Honey, and Jake E Lee’s Red Dragon Cartel.

Jeffrey Easton spends time with a legend in the 80’s rock scene, Michael Sweet of Stryper; on the eve of the release of their latest album, Michael opens up to Metal Exiles...

Kevin Lastovica keeps you abreast of the latest happenings in Sin City, including news on the Raven Storm Project, Mr. Scary’s Vamp’d debut, and Otherwise.

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Every Mon Every Thur Every Fri Every Sat Jan 01 Jan 03 Jan 04 Jan 04 Jan 04 Jan 04 Jan 08 Jan 09 Jan 09 Jan 09 Jan 10 Jan 11 Jan 11 Jan 12 Jan 14 Jan 18 Jan 19 Jan 23 Jan 24 Jan 24 Jan 25 Jan 25 Jan 25 Jan 26 Jan 26

Doc's Angels Arena Tribute Arena Tribute Arena Tribute Johnny Roxx w/ReMix Threedom Rock Pillars of Creation Sicocis Sweet Ginger Pie Threedom Rock Johnny Roxx w/ReMix Brad Bailey Michael Schenker T.O.D. Sweet Ginger Pie Threedom Rock Vile Child Johnny Roxx w/ReMix Sweet Ginger Pie Threedom Rock Johnny Roxx w/ReMix Jordan Allena Jordan Allena the Solid Suns Jordan Allena ROXX the Solid Suns Johnny Roxx w/ReMix Whiskey Southern

Fremont St Main St Stage Fremont St Main St Stage Fremont St Main St Stage Fremont St Main St Stage Fremont St Main St Stage Fiesta Rancho the Dive Bar the Dive Bar Boulder Brew Pub Fiesta Rancho Fremont St Main St Stage Las Vegas Country Saloon Las Vegas Country Saloon Las Vegas Country Saloon Tatuado Fiesta Henderson Cheyenne Saloon Fremont St 1st Stage Tatuado Shakespeare's Grill & Pub Fremont St 1st Stage Horseshoe Casino Horseshoe Casino Noho2 Studio Horseshoe Casino Eat, Drink, Party JT Schmidts Fremont St 1st Stage Hard Rock

Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV N Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV N Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Henderson NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Las Vegas, NV Tunica, MS Tunica, MS North Hollywood, CA Tunica, MS Las Vegas, NV Anaheim, CA Las Vegas, NV Las Vegas, NV

ve and Pete to fill out the band. <CV SW> What did you see in Steve & Pete that made you feel as though they were the type of musicians you were looking for to round out the band?

We had seen Steve, our bass player, play in other bands and saw that he was very talented, had a great look, great stage presence and a great personality. When we started rehearsals he and Pete, the drummer, were instantly on the same page musically. They laid down a great groove for the TOD sound. We were introduced to Pete by a fellow musician and were blown away by his talent. He is a rad drummer and really helped create our sound.

The world as we know it will never be the same! Unleashed upon this spinning orb we call our home planet roams a musical monster the likes of which has yet to be seen. The time has come for a band to begin its journey to redefine the very essence of true Rock-n-Roll.

Simply stated, now is the Time of Destiny!

<CV SW> What do you think works so well with this group of guys?

We all have our separate & individual musical influences, but when we write, we all have the same direction and we work well as a team. We all feed off each other’s ideas and always stay true to the T.O.D. sound. <CV SW> Who are your musical & vocal influences?

VOCALS: Freddy Mercury, Ronnie James Dio GUITAR: Brian May, Neal Schon, Martin Barr

<CV SW> What led to naming the band Time of Destiny?

It was our time to come back together and pick up <CV SW> Alrighty, we always begin these the where David and Tom left off and that was the basame way, tell us who is currently in the band, sis for the name. It was our destiny to do this proand what is their role? ject, so it fit to make the name Time Of Destiny, TOM HARDY (VOCALS) however, we go by T.O.D. DAVID NACCA (GUITAR) STEVE DILGER (BASS) <CV SW> Jump to the left here - David & Tom, PETE KIZZIRE (DRUMS) tell us about the years with FANZ - how did your time in that band shape your mature sound with <CV SW> This is the original lineup, yes?

TOD? Yes T.O.D. was always a musical band with melody <CV SW> What brought you 4 together, tell us from both a vocal and guitar standpoint. Vocals were always written with melody and the guitar about the forming of the band. How did you guys leads have their own melody that works with the choose the current members? vocals and the song in general. David is a melodic David and Tom had a renewed desire to work toguitar player with a great gift of melody in his playgether after many years of separation. ing as well as having great timing. The “mature We played with a lot of people and based on talent sound”, as you say, comes from our musical influand personality and music influences we chose Steences of great players both past and present.

party... <CV SW> How has working with Dio shaped your success today?

It gave us a very good work ethic, music is fun but it is also a business. Work, work, work; you have to work hard to stay on top of your game.

<CV SW> How did the "discovery" by Wendy Dio happen?

Fanz was playing at the Roxy in Hollywood and they asked us to showcase right away. After our showcase we signed with Niji Management.

<CV SW> You guys toured with Poison, Rough Cutt, and a host of other bands through California - what do you take away from touring with acts such as those?

A lot of good times, memories and several hangovers…

<CV SW> How did you guys end up in Vegas from California?

David moved to Las Vegas and became established in the music scene and always kept in contact with Tom and it was the proper time for them to start T.O.D. and <CV SW> Of course, being for that Tom had to move to Las mentored by Ronnie James Vegas.

Dio...how do you NOT be intimidated working with such a <CV SW> Why the Vegas scelegend? ne? What was it about the VEWe had mutual respect for each GAS scene that called to you? other and it was a very exciting I moved to Vegas and opened and positive working situation for Nactrax Studios - yes that's a play everyone. Ronnie always made on my name! I was planning to us feel very at ease around him retire from performing and really and created a very relaxed envi- wanted to pursue the recording ronment in the studio. industry. I was working with local bands and they all wanted me <CV SW> What did you learn to play on their tracks. That led from him that really made you to me playing with a few bands go "whoa, we didn't know the first of which was "Soul'd that"?

Out" and I realized how much I He was very intelligent and hum- missed performing. I played with ble, he actually had a very big a few other bands and then when heart and was just really nice. He Tom came to Vegas we hooked never made you feel anything but up and formed Time of Destiny comfortable. But man could he TOD.

<CV SW> What do you think about the Vegas music scene these days? Do you guys have any insight how to make it better?

It is hard for an original band in Vegas just as it is in Los Angeles, there’s a lot of BS to deal with.

But there are some good places to play here, such as LVCS, Vamp’d, and the House of Blues. <CV SW> Do you have any ideas how to improve the music scene there?

It would help bands in Vegas if we didn't have to "pay to play" which causes bands to struggle and many can't make it. <CV SW> You talk about "cookie cutter bands" in the local scene...little edgy comment, tell us about that opinion.

It is rather sad that the majority of bands now seem to follow the trend of the day and then they are gone. Bands should stay true to their sound; that is what separates them from everyone else. If you listen to everyone that has an opinion, you may as well just

stop. You have to create music that is true to your personal sound and style, otherwise what is the point? I do not care what type of music people play as long as they play it from their hearts and donâ&#x20AC;&#x2122;t put out the flavor of the day.

memorable shows?

We actually remember all of our shows for different reasons, but our best memories are the people that come to see us and sing our songs. If we make them happy it is all worth it. Our fans are memorable.

<CV SW> Having spent so many years in the business, what would you tell young people breaking into the music scene? What would you tell yourselves, if you could go back and give advice to a younger TOD? Our advice would be real simple; be honest to your own music, be professional and remember that settes, then cd's - today, it's iTunes single song sales, <CV SW> Any of your songs music is a business.

YouTube videos (from crappy speak to you on a personal lev<CV SW> How has the music cell phones) - do you see this a el? industry changed from those progress?

We deal with many subjects in our music; love, separation, days of yore?

We do see the new technology as death, life challenges etc. For ex- Technology has changed the in- progress since it enables people to ample, "Heaven's Angels" was dustry completely! It has changed hear and buy your music instantoriginally written about the trage- the way bands promote them- ly. Also they can share your mudy of 9/11 as well as the loss of selves and how they sell their mu- sic through social media worldDavidâ&#x20AC;&#x2122;s father. "Falling" was sic. wide. Best thing that ever hapwritten about the up's and downs pened. <CV SW> Back when *I* was a of living in Las Vegas. kid (yeah, that long ago), it was <CV SW> Is the ability to sell <CV SW> Any particularly vinyl, then 8 tracks, then cas- single songs on something like iTunes as an improvement to those prior mediums?

Being able to sell singles as opposed to a whole record is a great tradeoff - singles haven't been in the market since 45's were sold in the 60's. <CV SW> "unlike those cookie cutter bands" - what is it about TOD that sets you apart from them?

We have always tried to write songs with melody and meaning.

Our goal is to write meaningful lyrics with a killer sound and we hope people like it.

<CV SW> You guys make use of social media, but only a little.

Do you see social media as a necessary evil or savvy marketing tool?

We try to be selective about what to put on social media, we could always do more and we are starting to do more. We always try to

record it. We had all creative control over it as well as the CD jacket art and all decisions were made as a team. <CV SW> What is the status of the album?

We are just in the process of releasing it. We will debut the record at our next show with Michael Schenker on January 9th at the Las Vegas Country Saloon.

promote the band in a positive You See Me”…was it an easier way. We also see it both ways process after all these years? (necessary but selective).

How has making an album changed from the earlier days? <CV SW> Do you guys have a Having our own studio and profavorite place to play? ducing our own music has defiWe love playing at the Las Vegas nitely made it an easier process.

Country Saloon and Vamp'd; of Having full creative control alcourse, we are always up to play lows us to create our unique T.O.D. sound. What makes our the House of Blues! album special is that we were <CV SW> Tell us about “Can able to write it, produce it and

"PREPARING YOU FOR GREATNESS"

<CV SW> Okay, 2013 is winding down, what’s in store for TOD in the near future, and what plans does the band have in 2014?

We are excited to be playing as direct support for Michael Schenker on January 9th, 2014 at the Las Vegas Country Saloon. We want to continue to write music and play venues in Las Vegas and possibly go out on tour. We are looking to shop our music to major labels and hope to find that opportunity in the coming year.

Orgy & T.O.D. @ LVCS It’s November 22nd the night winds are chilly and the stage at Las Vegas Country Saloon is warming up ready for the show to begin. It is time for music lovers to come together throw their fists in the air and wrap their senses around synth-rock blasts and the rocking silver screams of classic entertainment.

Cameras are at the ready as Time of Destiny takes the stage. I was immediately impressed by the energy of the band and the power behind the vocals. I can easily say the singer sounded like Ronnie Dio. Very close! He hits the high notes fearlessly and the crowd listens in awe. As I sit watching and writing the band just keeps sounding better and better. On stage right, David Nacca is wielding a guitar that just dazzles my soul. David had written a beautiful song dedicated to his father called “Heavens Angels” and as I take in the lyrics, I see his family standing behind me watching in full admiration. On stage left, bassist Steve Dilger is totally in the moment. I could tell he was one with the music and totally in the zone. Behind center stage of course was the heartbeat of TOD, Peter Kizzere. Not only was he an impressive drummer but a backup vocalist as well. Drumming isn’t easy and singing at the same time takes true talent and that’s what this band possesses. A plethora of talent from four brilliant musicians who have been soaring the seas of rock and roll for over three decades. Now that’s what makes a band that will be a part of legendary history.

The night is still young and the audience is more than ready for the synth-rock, sound dominating, bedazzling band from Los Angeles, Orgy.

This band has been a massive part of the music scene for two decades and this particular set is most definitely a unique one, unlike any other set they have done. All band members at their stations instruments tuned and ready to burn… but no singer.

Lead vocalist and founder of Orgy Jay Gordon

was just boarding his flight. Even though he more than prepared himself to land in time for the show; it didn’t keep away the force of events that prolonged his journey. Reports of a car crash delayed the flight crew and bad weather impacted his flight, sucking up the time he needed to be at the venue.

What to do? Jim Louvau, the singer from a band called The Attitude jumps onstage. Grin on his face and mic in his hand he confidently takes the stand as Jay finally boards the plane and was on his way. Jim took over the microphone and sang their songs with dashing flair and complete competence. I watched happily and absolutely loved his style. The band played flawlessly. I knew then that the show was indeed going to be a gem and a rare one indeed. It was impressive that Jim knew all the songs and sang them very well. Halfway through the set, Orgy’s drummer Aaron Monacco announces that Jay had landed safely in Vegas and was on his way. The band takes a break and began conversing with the fans. How awesome is that!

It’s a cherished moment when bands put down their instruments and become one with the audience. They talked with us and told jokes keeping the air sweet and alive. Minutes go by and Jay rushes into the venue still dressed in his regular clothes and the crowd goes crazy screaming his name, cheering him on. He changes his clothes and runs on to the stage grabbing the microphone and sang his heart out more than ready to rock.

Towards the end of the show, Jay asks the crowd, “which song do you want to hear?” They screamed “Blue Monday”, which is no surprise to me because that’s one of the band’s most popular ones.

Everyone sang along loud as they could as the show came to an end. A rare show indeed. Exciting, interactive and fun! In the world of music, there are specific moments and events that carry on through time genuinely and becomes a part of history unforgettably captured in our hearts…. Orgy gave us just one of those.

Order from an Agent of Chaos Agents of Chaosâ&#x20AC;&#x2122; own Brien DeChristopher gives us his take on the proper set-up and usage of a Floyd Rose tremolo on a guitarâ&#x20AC;Śas well as a little clarification between them and stop tailpieces.

One thing I hear a lot is, "How can you stand a Floyd Rose? I can never keep them in tune!", or, "Man, guitars with floating bridges are just too hard to play/maintain!"

Nonsense.

Physics have a LOT to do with the playability of a guitar. And whether your bridge Floats or you use a Stop Tailpiece set-up (Les Paul, Explorer, etc.) or not really has nothing to do with whether one style of tailpiece is better or not. They really are TWO different animals entirely.

A Stop Tailpiece is usually comprised of a bridge (with movable saddles for intonation) and a solid piece that the strings travel through to connect with the wood of the body for tone and sustain. These types of tailpieces are great for some folks, and makes playing a little less complicated, but BETTER than a Floyd Rose tailpiece? I beg to differ. And, since this particular blog post is focused on Floating Bridges, that is about all I will say about them, except that when you bend a note on a guitar with a stop tailpiece, you only affect the note(s) you are bending/ playing (leaving stress-relief of the neck out of the equation).

A Floating Bridge is based on a plate set to balance on-axis at two points (usually at the front edge of the tremolo), and counter stresses the strings with two or more springs in the back of the guitar. When you bend a string on a floating bridge, it will affect all the strings because the tailpiece is balanced on a 90 degree fulcrum point. So, when stress is added to one or more strings (bending up in pitch), the tremolo naturally leans forward a tad. That loosens the tension on the other strings, and can make them sound out of tune or out of intonation. Additionally, because the tremolo system is based on a fulcrum balance, proper set up of the tremolo is CRUCIAL to good performance and playability.

Pretty much EVERY guitar I own (except for my Gibson Les Paul I use in the studio) has Floyd Rose tailpiece on it. And, I use them. Not overly, but I DO use them to color my style of playing. Floating Bridges are not JUST for dive-bombs. Sure, it sounds cool, but I like to use them for reverse bends, slightly manipulating a chord when it is being held, and other fun little technique tricks that others use a foot pedal to achieve... like FLANGING (an old recording trick where the recording/mix engineer would lightly rest their fingers on the edge of the tape reel, and add/release pressure to speed up/slow down the tape). I do that with my bar. It's a might hard to explain in text, but to hear it sounds really cool.

Anyway, there are a few things to keep in mind when using a Floyd Rose or similar floating bridge...

Proper Setup: When your guitar is strung up with your favorite strings, and tuned... the plate of the tremolo should be lying exactly parallel with the body of the guitar. This is done by tightening or loosening the springs on the back of the guitar until the stress caused by those springs equals the stress of the strings pulling against them. This will balance the tremolo and open up a whole new world of technique to you as a

player.

Proper Intonation Set-up: This is true for EVERY guitar, but with a floating bridge, it is IMPERATIVE it is done right. It will increase sustain, tone, tune-ability, and harmonics. Each saddle, like a stop tailpiece has, can move forward or backward to properly intonate the strings. And, even if you have multiple guitars with Floyd's (like I do), no two of them will be set up EXACTLY the same due to wood, body shape, pickups, string gauge, etc. (I'll cover proper intonation of a Floyd Rose equipped guitar in another blog.)

Proper Hand Positioning: One mistake I see a lot of players make, is resting their hand on the bridge when they play. That is not only lazy playing, but makes for a difficult time keeping the guitar from "Flanging" or chords/notes going out of tune or pitch. Your picking hand should not rest on the trem unless you are muting notes, rather, it should float gracefully ABOVE the trem without touching it.

Proper Understanding of the Basic Physics: If your bar is set up correctly, it will balance and lay parallel with the body of the guitar when at rest... not tilted back or forward... but completely flat. When you push down on the bar, the notes will go flat, when you pull up, the notes will go sharp. When you bend a note, you will have to bend it a little sharper than on a stop tailpiece, because the added strain will cause the bar to tilt forward a tad...so just bend a bit sharper and use your ears to listen to the notes until you get comfortable enough to recognize the pitch by the feeling of the string as you play... but that comes with time and comfort with the trem. <TIP> You will know when your floating trem is set up properly when you can smack the bar with a fingertip, and the notes you play sound like you are under water (an old Brad Gillis trick).

Proper Tuning of the Instrument: If it is properly set up, your guitar will be a snap to tune, as you just wind the strings tighter until the bridge plate is even with the body, and then tune the strings. Simple. The fulcrum balance of the bar does this. So, proper setup is imperative.

Proper Social Engagement Regarding Floyd's: So, the next time you tell somebody that you can't stand Floyd's, remember that what you are REALLY telling them is that you don't know how to set one up. Cool, they aren't for everyone... But ignorance is no excuse to try to prove your point on why you feel your stop tailpiece is better... it isn't. It's all about style and technique.

some big halls and fests. It’s about having a good time and doing something with your days.

And when there’s something in you and that something can be easily transformed into music, why not? The soul of music lays <CV WW> Who is currently in not in the amount of notes one the band, and what is their role? can play but in the quantity of Markus: Guitar and lead vocals time spent! Don’t you think?

Lauri: Vocals, guitars and tradi<CV WW> Fair enough. Now, tional instruments the name Metsatöll, Estonian Kuriraivo: Bass and vocals saying for “wolf” – why that Atso: Drums and vocals name? <CV WW> According to your Lauri: Markus said that it was bio, you formed the band in something that he found in some 1999, but at first none of you kind of dictionary of Estonian could really play any instru- dialects and liked it. Actually no ments that well, did I read that one nowadays uses a word like right? Why form a band if you this - the word was used west of could barely play? That is very Estonia as an euphemism for wolf, to not have to say the word ambitious.

Markus: Yes we were ambitious. “wolf”, as it might call the aniAnd music is something that mal to come and do harm to your comes from the depths of your animals - so, they said different soul so we had to unleash the words, like “forest animal”, “grey beast! What we really meant in -one” etc. Nowadays the Estoniour biography is that our will to an for “hunt”-wolf is also a eumake music was stronger than phemism that has become the main word for wolf; the older the skills we had that time.

Lauri: It’s a bit of a humorous word “susi” is commonly used statement, you know, when you only in south of Estonia. are young and rebellious, want to Why wolf, specifically? Markus do something “cool”. It’s not stays silent on this for the most about forming a band and getting part, but for me it’s something I famous with that and conquering know, it is a part of me. We did <CV WW> Welcome to the pages of CV WorldWide…

Metsatöll? !

Hey! We are Markus and Lauri from Metsatöll. Warm greetings and thank you for this interview.

not accidentally end up in this band, I believe, this is something that gathers us together under that name. <CV WW> Also what is the significance of the symbol...what does it represent?

Markus: Our symbol is a composition of four letters of M. No legend about that sadly.

Lauri: The ornament is made by our old drummer Factor and he did put 4 M-letters together. But of course when you are interested in symbols, you know that in different cultures, and also in Estonian, that the same kind of ornament has been used for good luck and defense-magic, the symbol of the sun - this is probably the first symbol you stumble upon if you open whatever book or research of symbols. I think the symbols

do work even if you are not aware of the meanings behind them - the good or not so good.

And if you use them wrongly the fall is fast in coming. <CV WW> At that time, tell us about the Estonian music scene – what was it like? What were your first goals?

Markus: Black metal was truly popular at that time when I decided to make my own band. I was not really into that style. So I wanted to play heavy metal with the clean vocals. I was a huge Bathory fan so I added an epic touch to my music and I’m glad that most of the time it came spontaneously.

Lauri: We had played with Markus in a black-metal project, yes; the black metal was a big thing back then. I also played in a grotesque-folk band then and didn’t really care about Estonian metal-scene at all. Of course, for me there were some big Estonian things, I liked - Hortus Musicus – the kings of Estonian Medieval scene, for example, but overall

there were too many barbiebeach-ken-cars-synthnomeaning kind of pop bands. Like everywhere, I think.

Goals - personally, I had no goals, I’d like to play music and that’s what I did. Of course, when I heard first Markus’ Metsatöll demo that they did record, honest, it was really terrible and disastrous, and some of my friends were really disappointed when I joined Metsatöll; they didn’t understand why the hell I’d want to play in a punk band. But it was Estonian, no yelling and roaring, still metal, good bass riffs, played by my friends from the same neighborhood. And so it went… <CV WW> Early on, I assume your songs were sung in your native language? Tell us about translating them to English.

Markus: Our first drummer was (is) really good in English so it was his challenge. He didn’t do the direct translation of our lyrics but he tried to bring up the

thoughts and emotions that our songs carried. And if I may say he still does our translations.

Lauri: Metsatölls songs are all in Estonian. They can even be said in Estonian languages - in my lyrics I do often use archaisms and dialects that can be more accurate describe what I want to say.

Making lyrics is like painting a picture - you cannot see every detail in it but all together it has to make an emotion to the listener or reader. Estonian is a very complicated language and I like to write meanings beyond symbols and symbols beyond meanings and make it so that it all together paints a picture to a decoder - listener or reader. Or to myself.

Translating one language to another is a very complicated thing.

Actually you cannot translate a culture - symbols, jokes, feelings (for an example - try to think about meanings of “home”, “forest” or “winter” in different continents and places of the world), but you have to do your best. Factor, our translator and old drummer has really tried and we hope that an “English” reader gets the stories we want to tell.

<CV WW> You released a demo album later in 1999, then brought in Lauri as a second guitar player, but also as a musician who played the torupill, kannels, and flutes…those are traditional Estonian instruments?

Lauri: Yes, all of them, though some of them are quite common in every corner of the world.

Some are played only in Estonia like torupill, the Estonian bagpipe - now there are several dozens of bagpipe-like instruments in the world, but the Estonian torupill is very different in sound and construction. Of course the main idea is the same. The flutes I do use now are but made by “Mollenhauer”. They are really good stage instruments - loud and clear. But I have in my mind an idea to rebuild some Estonian flutes that way so that they would

be good to use every day in am- Lauri: Actually there was even plified concerts and still make some “arguing” about already some “Estonian” sound. having a song that had the torupill in it. The second guitar <CV WW> Those instruments was more “metal”. It took are custom made by Lauri, yes? around 5-6 years before leaving Lauri: Some of them are built by my guitar “gently to weep” in the me, some are customized and corner of a stage. some are built by other Estonian masters. <CV WW> What do you think <CV WW> It is interesting that you add those sounds to your metal songs, why did you start doing it? Did you have the idea before he joined, or come up with is after?

Markus: When Lauri joined the "wolfpack" it made our music more colorful; it meant all the second guitar parts we decided to play with traditional instruments.

It did made the song writing harder but much more interesting and then we understood that this is the way to go.

it adds to an otherwise heavy metal sound?

Lauri: It adds more of that “Estonia” of course! <CV WW> Atso became your drummer in 2004, the lineup is complete; what do you think works so well with this group of guys?

Markus: We are four men who know exactly that we are living our dream. Life has given us a chance to make records and to tour with our band. In the music

world you do not have second chances. So this final line up does what it loves to do; play music.

Lauri: I personally don’t have dreams and I do not dream. I think everything that works with us so well, is that we are not teenagers any more and we managed to stay together for those 10 years or more. We know each other very well and are OK with it. <CV WW> Who are your musical & vocal influences?

Lauri: It is a hard question, we could say all something about our favorite bands or musicians now but it doesn’t really mean that we have influences of them in our music. But if I stand on the outside and have a look to Metsatöll’s music, leaving personal interests behind, then there is some touches of Slayer, maybe Finntroll, Iron Maiden, Manowar, Korpiklaani. At least it is true, that every band you tour with leaves something in your music.

But personal - when I do write some lyrics or music, usually the inspiration comes from nature or

pictures from memories of my personal life; or impersonal memories of Estonian history. <CV WW> Growing up, did you have any other interests?

How did you fall into music? I don’t know much about growing up in Estonia, but heavy metal isn’t something I’d think would be a popular career choice.

Lauri: Who thinks about a career during your youth? You just do what feels good and let the decide -department see where it leads to.

I have worked as a baker, been a medicine-man in army, in ITbusiness for 15 years, but I always had interest in traditional Estonian culture. <CV WW> In an interview a while ago, you said that "we choose the songs we play based on what country we are in" that is interesting, what things do you think about that help you choose different songs based on the country, can you give us an example?

Lauri: Maybe it’s something stereotypical, but in our thoughts, we sometimes “just know” what people should listen to in some country. For instance, a stereotypical German “galloping” or Spanish “joyful speed” song. <CV WW> You said that your music sound is universal, that people as young as 18 and old grandmothers listen to your music, what do you think is the reason that your sound appeals to so many ages?

Markus: I think that if people see us live then they see that our music is honest and in a way people get the true emotion and the feel of our energy. When we record or play a gig we always do it with the true emotion. I think people love the honesty in our music and the energy we bring. <CV WW> You've said "we want to do more and more gigs", do you prefer touring and playing live over recording?

Markus: I think recording and touring have to be balanced. Performing live does add a visual experience of the band. I personally like both and I think if you make a record it is cool to show it live

too because live is always different and sometimes an even better way to get people into your music. <CV WW> There is a funny comment on your site that talks about Köva Kont…the funny comment is that it details your history from the first gig “attended by both your fans” – both your fans? What did you think, back then, seeing that small an audience?

Markus: We thought it funny to say. But what we meant with that comment is that we don’t care how big the audience is we will always play with full force.

The smallest audience we have actually had is 7 people. It was our first gig and it’s understandable.

100,000 people! How overwhelming is the feeling, standing on stage, thinking about playing in front of that many people, after starting off playing for so few.

Markus: Yes it was an overwhelming view of the crowd. But we will say that when you have an audience that big it is pretty hard to share your energy with them because the people were hundreds of feet beyond the stage. But yes the feeling was absolutely terrifying at first and awesome at last. I wish we could play more shows like that...

Lauri: I think it doesn’t matter how many people are there in front of you, it’s like an act, you just do it as well as you are able.

It would be strange to overplay your part and it would be stupid to underplay it. Playing in front of this many people is again like a live shoot on TV - there could be 1,000 or 100,000,000 watching you who cares, nothing changes, enjoy it.

<CV WW> The awards started very early…”Hiiekoda” was released, the band’s popularity took off, and Metsatöll wins the Best Metal act in 2005…did you expect THAT success so soon?

Markus: I didn’t expect any<CV WW> It’s an incredible thing so soon but I’m glad it road from that point to Mär- happened. Finally our hard kamisaeg, attended by over work paid off. We managed

to raise the popularity of rock music in Estonia. <CV WW> In 2006, you rerelease your demo album, and win the award AGAIN…why did you decide to re-release the demo, even though it seemed to work out well for you.

Markus: You are absolutely right. Every time bands re-release their stuff it turns out to be a disappointment but in our case it was different. Our first demo did not include traditional instruments so we had a chance to rearrange that first material we wrote. So it turned out better than the original material. At least I think so. <CV WW> Talk to us about “Raua needmine” with the Estonian National Choir – how did that project come about?

Why did you decide to play the show in the ruins of the Pirita Cloister?

Markus: It had been our dream for a long time to play with the choir. As a Bathory fan I was al-

ways wondering how our music would sound if we include a true choir. And so it happened that one day at a festival we took this project. And what made it really come true for us as an experience was that we performed it in an old cloister that seemed to be the perfect place. It was a success. <CV WW> How has the sound of Metsatöll changed over the years as you've matured as a band...or has it?

Markus: We never write the same kind of album. That’s why every record sounds different.

Next year we will release a new album and it sounds the heaviest of anything we have ever done.

Also, out new single "Lööme Mesti" is available in Spotify and iTunes.

Lauri: I like your point! The sound and music are not improving, they are changing. Yes, we want to do something different in an every album and we work with our sound-engineer Keijo a lot on the end result. I think the trust between band and a studio/ sound guy plays really big part of every band’s record. Everyone changes and with it the traces one leaves behind. <CV WW> “Iivakivi” wins you yet again the Best Metal Act award – do you feel any pressure to repeat your past success, even now after so many awards?

Markus: No. Lauri: There are not so many popular metal bands in

write music in completely different conditions and a lot of nature around us.

Lauri: Of course there was a lot of old material, dictaphonedemos and lyrics before it. But some of the music did arise from there. The not-expected part was that we decided to record an album instead of arranging some demos. <CV WW> You said that “Äio” contains “a breath that cannot be achieved in a big city” – what does that mean?

Lauri: We did record in that small summer-house of our drummer and the feeling overall Estonia, so its not really big deal. was different than in a closed stuNew record…go there and take dio in a town. Bird are singing, cows mooing, etc.. the damn grail again. <CV WW> “Äio” is released, but the process putting it together is different – you wrote the music while secluded in a small farm – why change the process?

Markus: I think it’s completely understandable to change a process sometimes. We were trying to find different corners in our music and this time we experimented with what happens if we

<CV WW> Talk to us about your shows in Afghanistan in front of the soldiers – how did that come about?

Lauri: We had an invitation to Afghanistan twice, first time we refused, we did not want to receive an invitation a third time.

It’s all about Estonians.

Markus: Yes we had 2 great shows in Afghanistan. The soldiers’ reactions were good. I know that they didn’t even understand our language but still had a great time at our show. <CV WW> What of the reaction from the troops, what is what you expected?

Lauri: I think the situation there was a little bit different

than in earlier times, playing in the front. We did mostly play to the local Estonian troops, they were glad. Most of the reactions happened offstage and it was cozy and fun, even when I knew what’s happening around us in that area. <CV WW> Did you ever feel unsafe while in that country?

Markus: We were more secured than in civil life; we were entertainers so we had to be protected at its best. <CV WW> Do any of your songs speak to you on a personal level?

Lauri: The meanings beyond the songs lay for me in lyrics. Every lyric/poem I write, is a personal expression of me. So, yes.

<CV WW> Having spent so many years in the business, what would you tell young people breaking into the music scene?

Markus: Be yourself; work hard like never before, never give up.

Lauri: Know what you want. All the music is not about business and business can also be an art but try to make music at a different time than business, keep them separate, focus in the moment.

necessary evil or savvy marketing tool?

Lauri: I personally do not use social media, racebook, basebook, facebook or whatsoever, but I agree, we live in the century we live in and we must use our century’s possibilities. When everyone is on Twitter and Facebook 49 h. in a day, we must go and grab their attention in the right moment. When we go around gluing old school posters on the walls, no-one notices; their eyes are all focused on their I- and Smartphones.

<CV WW> The band has played over 500 shows throughout the world, where have been some of your favorite countries to play?

Markus: We like to play everywhere. We have toured Europe and now twice in the USA. And I do not remember any some coun<CV WW> Let's talk about the try that was not a good tour for music business - back when *I* us. was a kid (yeah, that long ago), it was vinyl, then 8 tracks, then cassettes, then CD's - today, it's iTunes single song sales, YouTube videos (from crappy cell phones) - do you see this a progress?

Markus: Actually I’m glad that people who listen to metal are also very loyal fans. I don’t care if someone puts our music to YouTube, I know that if the person truly likes you then he buys also your stuff.

Lauri: The idea of progress is a fiction; it’s just different.

<CV WW> Do you have any particularly memorable shows?

Why was it memorable? <CV WW> You guys use of Markus: We have played over social media quite a bit…do 500 shows and I can say that eve- you see social media as a ry gig has been memorable!

Lauri: Playing is always fun! But I have to admit, Finland and Estonia are still homier than rest of the world. <CV WW> Where do you think the craziest fans live?

Markus: Hard to say we haven’t toured the whole world yet.

Lauri: At home. <CV WW> How do people react to your music in the different countries, or do they react the same way? What differences do you see in fans in different places?

Markus: In my opinion they react the same way everywhere despite the country. If they like you they are with you if not then our music is not for them.

Lauri: The people in different lands are different. And different persons are different in those lands. But stereotypically,we can say that, of course, German reaction is always different from Spain. Germans are warm, but they prefer to stay still during the

concert - making that “teapot- 10226, What could I say? Stay stand”. Spaniards do moshpit confused! and stagediving before the first <CV WW> Okay, 2013 is windband starts… ing down, what’s in store for <CV WW> “On their homep- Metsatöll in the near future, and age, and to date their releases, what plans does the band have Metsatöll uses the chronology of in 2014? the local natural religion. It be- Markus: We have big plans for gins with the Billingen catastro- the year 2014. In February we phe of 8213 before Common celebrate our 15th anniversary Era, when the Baltic ice lake and in March we will release broke its way into the ocean and our new album. So stay tuned!!! most of the current territory of Also we really hope to tour Estonia appeared from under again! But yes one thing is certain the water.” Is that a tribute to new album definitely will be rethe history of Estonia? Aren’t leased in March and as I said beyou worried that people might fore new single is already available in Spotify and iTunes. It’s get confused?

Lauri: There are many chrono- called "LÖÖME MESTI" logical systems in the world. If there is something different in a Lauri: Thank you one more time calendar of some nation and if for this interview and we do hope that nation interests you, you to see you soon at one of our must find out what it is all about shows; tell all the readers and lisand then you don’t get confused. teners - do not be shy to shake And when you do get confused our hand afterwards and have a about some calendar having chat with Metsatöll – meeting lomonth like “marraskuu” or cal people is the most interesting “azar”, years like 1392, 2572 or part of touring!

The Hendrix Music Academy is a Not-for Profit Educational Charity, created

by Jimiâ&#x20AC;&#x2122;s niece, that has been serving the At-risk youth of our communities, since October, 2009. The Mission of the Hendrix Music Academy is to provide Music education, intervention and mentoring programs to the At-risk youth of our community, so that they may achieve their highest potential as musicians, leaders and global citizens. Our innovative music and mentoring programs encourage and develop good musicianship, citizenship and reduce juvenile delinquency, which in turn, reduces violence and crime in our communities.

CV NW partners Lani Linton & Molly Larpenteur stopped by the Hendrix Birthday Tribute Show for pictures and thoughts...

We

all know Jimi Hendrix as an icon, a god of guitarists and musicians stretching to all corners of the globe. Many people were inspired by his talent. To this day, people celebrate his life, and his songs that still grace the airwaves.

Tina Hendrix, Jimi's niece, radiates with the spirit that her uncle had shown. It's no surprise that when an opportunity arose in 2009 to help some kids in trouble, she took on the challenge with seemingly no hesitation.

In speaking with a local sheriff, Tina found that they were looking for an outlet to help rehabilitate some of the kids in the area that had been getting into trouble. Tina, owning a music studio, immediately volunteered.

When a teen was presented with the option to be a part of The Hendrix Music Academy, they were forced to accept some conditions. No bad mouthing, show others and themselves respect, and think about consequences. Tina gracefully states "Don't procreate off queue".

The program started out being six months long. At the end of the six months, the kids would get to play a show on an actual stage...showing off in front of a crowd of people their hard work and dedication. But when that six months was up, many decided to stick around.

Tina has an open door policy. You can come, you can go. Your reward is as worthwhile as the work you put into it. People are people. If you mess up, you are welcome back with no judgment. But when you get back, the same old rules apply. Respect those around you.

November 27th, Jimi's 71st birthday. Fans, friends, and family piled into The Vera Project, an all ages, volunteer driven concert venue housed in the Seattle Center. From the second one walks through the front doors, the aura of art washes over you. White walls are drenched with paintings from detailed and enchanting images displayed down the side of a stairwell, to colorful and vibrant graffiti plastered bathrooms with sayings like "Things to do; 1: Make out with a foreign stranger" and "you might wake up and notice you're someone you're not".

Through black double doors is a dark room surrounding an up and personal stage. Chairs were arranged both at the back and sides of the room for guests who wanted to be seated. All were full and still more people appeared, standing, wandering through the room, or sitting on the floor front and center to enjoy the show.

The crowd grew silent as Tina walked onto the stage. She was dressed head to toe in emerald green. Her hair was meticulously put up. Her eye makeup was a prism of glitter and feathers. Her dress was a gown of green velvet, and her knee high boots were matching in color and sparkled like stars under the lights. She thanked the crowd for being there and introduced her first students to occupy the stage.

Kurt (vocals), James (bass), Pratik (guitar) and Christine (drums) took the stage and jumped right into a rockin' version of "All Along the Watchtower" by Jimi Hendrix. The night was officially kicked off, and the benefits of the academy were instantly apparent. Kurt stayed on stage, lights dimmed, and proceeded to showcase his talent as not only a vocalist, but a stunning guitarist as well. The room filled with the spooky (in a good way) and hypnotic chords that he strummed. Guitarist Pratik played live his own song "Cigarettes", currently for sale on Amazon.com. James rocked the bass, and Christine held down the beats and supported her band mates with her rhythm.

The night progressed with numerous artists. Kayla Stewart awed the crowd with her languid tunes, Godfish tore it up, blasting show-goers with a heavy dose of energy. Blumeadows and Stacey Stanford added flavor. Eddy Rigotti shocked the audience into admiration when he started playing the guitar with his teeth! Leon Hendrix took the stage, his experience displayed. Last but not least, Tina graced the stage, singing and playing violin.

It was obvious, that although celebrating Jimi's birthday, this night was for the students. Their hard work was clear as glass. They walked onto that stage and played with a confidence that only a true professional can fathom. One could see friends, family and fellow musicians supporting one another, when you'd expect competition.

A few days later I found myself sitting in the studio of the Hendrix Music Academy. The room is mostly decorated in purple. A small seating area and a sound board were in the main area, with rooms filled with instruments of all sorts branched off. When I arrived I realized that today, a Sunday afternoon, would have been a normal practice day. But instead, the day was to be spent celebrating a job well

done. The Jimi Hendrix 71st Birthday show was a success, and they deserved to revel in the experience.

When Christine, James, Pratik and Kurt were all present, Tina asked if they were busy on Friday evening. All responded that they were not, and that they would make time to be present for a meeting at the academy. To clarify: supposedly troubled teens, voluntarily made their time available on a FRIDAY night. I was shocked. But my astonishment was quickly put into check when Tina said, "What makes these kids at risk? It's the environment of our culture."

She had proven exactly that. By showing her students the respect that she expects to receive from them, and being openly loving, supporting and patient, she in fact, receives the same in return. That's not to say that there aren't hardships; of which evidence was displayed so that the other students could acknowledge it. Those who would cause harm to others are forced to take accountability for their actions. But once they have, they are met with open minds and open hearts.

In the time I spent with Tina Hendrix, her family and her students, I was filled with warmth. I left the academy with a feeling of positivity that sunk to the core. For someone to use their time, money, emotions, strength and experience to help others, and to be completely selfless while doing so, enables me to admire them to the highest of standards. The instruments and lessons are donated, or paid for from what little money is available. But the passion, so apparent and out in the open, is what makes the Hendrix Music Academy a driving force.

Gear the Pros Use! Guitars: Purchased in 2008 is a 1961 reissued Gibson Les Paul Standard Tobacco Sunburst with Humbuckers Purchased in 2007 PRS Custom 22 (2 PRS Dragon II Humbuckers Purchased in 1981 Acoustic Ovation Balladeer “I have been playing Les Paul guitars for 35 years and have always felt comfortable with Gibson Les Paul. Recently, I purchased an AX PRS. I have really found my new sound with this guitar and feel that it has changed my playing to a much smoother style, I attribute that to a fast neck and a smoother feel to the guitar. I tried a lot of different heads and settled on a Bogner Valve, I like that it has a tube sound with all digital effects with 1 data cable with hundreds of sounds and is all programmable - you can’t beat it. Ernie Ball cobalt strings gives me a more metal sound. They really resonate with an electric guitar sound. ” Guitar head: Spider Valve HD100 Bogner 150 Watt with a Line 6 Preamp and Effects.

Line 6 FBV Shortboard Volume WaWa Pedal Speaker Cabinets: 1980 Flag Systems 4-12 Cabinet, 4 Celestions 35 Watt Speakers Randall 1984 2-12 Cabinet, 2 Celstions 65 Watt Speakers Behringer 4-12 Cabinet, Stereo Slanted Wireless: Shure Wireless Guitar System PGX4 Strings: Ernie Ball Slinky Cobalt 10's

For good luck, I wear a Ruby Ring left to me from my father, Carl Nacca, who passed away in March of this year. Dad was at nearly every show since I started playing as a kid in Southern California.

Picks: V-Pick Thick Bass Size “I used a nylon guitar pick for 35 years and then I picked up a VPick a few years back and quickly realized it was very very fast. They are made of acrylic and almost adhere to the heat of your fingers so they don't drop as easily as other picks. I am currently using the larger bass sized pick which gives me much more control.”

With the Bogner Power Head, Cobalt Strings, V-Pick and the PRS Dragon II Humbuckers - this is my defining sound for 2014.

With Christmas approaching the Las Vegas valley, there was no shortage of shows featuring local bands. From Battle of the Bands events and midweek Birthday Bashes to Holiday Parties featuring national touring acts, Vegas venues turned up the heat this December.

The Sin City Sinners took over the Viny'l stage for a special Holiday celebration benefiting "Toys For Tots".

Heavy Honey brought the guns back out, opening for none other than Jake E. Lee and his new entourage of rock magicians in the 'Red Dragon Cartel'. This could quite have been one of the largest crowds that Vamp'd has seen. Whether or not it was at actual capacity, the Fire Marshall was too busy enjoying the show to take count. See pages 14/15 for pictures of the show!

Tomirae Brown's new Tribute to Janis Joplin, 'Pearl', brought their show to the Vamp'd stage, opening for Count's 77 and guitarist John Zito's Birthday Bash. Local Vegas rockers came from all around to party it up with Zito and the boys. It was a Who's Who of the top talent throughout the valley.

The Wicked Vicky Tavern, inside the Riviera Hotel & Casino, continues their Classic Rock Battle of the Bands on Thursday nights throughout December.

KOMP Radio had their annual Holiday Party with a huge blowout of bands inside The Joint at the Hard Rock. The official After-Party was held inside Viny'l and local rockers 'Smashing Alice' took things to a whole new level. Members of Stone Temple Pilots and T.O.D. were seen checking out the guys throughout the show.

Vince Neil's new club at the Circus Circus finally got their stage ready for bands to come in and test out the new diggs. AC/DC Tribute High Voltage, Vinyl Tattoo and the newest Vegas band to debut it's talent, Raven Storm's 'The Storm Project', all played the new club during the month.

To end out the year in style, The Railhead at Boulder Station Hotel & Casino hosts recently signed nationally touring band and Las Vegas own 'Otherwise'. Opening the show for Adrian and the boys is local rockers '333'. At time of magazine publication, the show had not taken place but knowing Al Miller and the 333 boys, they will be giving Otherwise a run for their money.

The debut performance of Las Vegas' only Dokken Tribute, Mr. Scary, blew the roof off of Vamp'd with a performance that would have rivaled Dokken back in their best days. David Lee Williams brought back the true sound of the 80's rockers, nailing some of the best Dokken had to offer. Opening up for the top Def Leppard Tribute around, Pyromania, this night of 80's rock, had the full house rocking till the early hours of the morning.

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Ladies and Gentlemen, tonight's event has been brought to you by Vinyl @ The Hard Rock Hotel and Casino, and "Wayne Static". Just thought to myself, "why not have some fun with this one right?"

First off I have to open by saying "Wayne Static" and "Tera Wray Static" are so very much fun to watch together, even on stage they have a great time.

Prior to the events of "Wayne's" performance, I was able to see them interact with one another, sharing their personalities with such passion and love toward one another; married now for almost 6 years and still going strong. Since last year it seems Wayne has been undergoing a healthy recovery from a much needed hernia surgery from back in the fall of 2012. During the tail end of the tour he finally had to cancel 2 performances because the pain was so unbearable. Wayne looks to be in a much healthier state of affairs, itâ&#x20AC;&#x2122;s welcoming to see him back on the stage. I myself as well as many other fans look forward to seeing what the future has next in store for "Mr. Static!"

I realized that night watching the concert just how much of an impact "Wayne Static's" music has influenced and impacted people lives. Whether it be "Wayne Static" or "Static X", you can see the fans adore him in every way. Just to give a few examples there were a few fans with hair standing straight up in honor of Mr. Static, during the performance the audience (at the top of their lungs) sung every song word for word not skipping a single beat. "Wayne" and the band opened the evening with "Sweat Of The Bud", "Static X" recorded the track on the album "Wisconsin Death Trip". Seeing how "Wayne Static" comes to us with so many creative and popular hits between projects, we were all thrilled hearing the variety between the then and now. Usually I don't mind filling you in on a few surprises but this time I am going to take a different path. GO SEE THE SHOW!!!

It's fun to see "Wayne" share the stage with a variety of musicians who are equally competent in their craft.

During the early introduction I was able to meet a few of them. I have to say that for such kick ass rockers they are all quite humble and polite. On guitar I have Ashes, who has been a staple for the band since 2011, on bass is Andy, who made his debut with Wayne at end of the Static-X tour in 2012, and on drums Wayne has brought back former Static-X drummer (2007-2009) Bevan Davies.

If you hear of the tour coming to a city near you, get out and enjoy the show. Its not every day you get the opportunity to enjoy some of the very best of and most creative influences of metal. Thank you Wayne Static, Tera Wray Static, Ashes, Andy and Bevan, for the music and memories!!!

What Automobile Drivers Should Know About Motorcycles In recent months, there have been several (and we mean more than 5) motorcycles fatalities in the Vegas area...granted, we take our lives in our hands every day we walk out our front door, but we at CV WorldWide believe it relevant that we still have dialogue regarding Bikers & Cagers, and feel it necessary to post informative articles for our readers.

We offer you this article in hopes that we all become a little more educated and especially... AWARE of each other...

This article will discuss the characteristics of motorcycles in everyday traffic situations. Automobile drivers, also known as Cagers, need to be aware that a motorcyclist will often slow down their motorcycle by downshifting or by simply rolling off the throttle. What this means is that the brake light is not activated. Given this knowledge, we advise that motorists allow more following distance to give motorcyclists and yourself more room to maneuver.

Common sense also dictates that you predict a motorcyclist may slow down at intersections without visual warning.

Motorcyclists use both their turn signals and hand motions to announce a lane change or turn.

Some motorcyclist forgets to cancel their turn signals. Although newer models have built in selfcanceling turn signals, some beginners and experts may still forget to cancel their signal. So, make sure a motorcycleâ&#x20AC;&#x2122;s signal is valid.

A motorcyclist will often adjust their position within their lane. This is mainly for better visibility, to

Beau Wiley - www.WhyBike.com - reprinted with permission

avoid debris, and to minimize affects of weather and other vehicles. This behavior should not be interpreted as reckless driving. If anything, it will help you, the Cager, be aware of the motorcyclist.

Since a motorcycle is obviously smaller in size than an automobile, although the rider may be quite large, please be aware that because of its small size a motorcycle may seem to moving faster than it actually is. Also because of this small size, a motorcycle may look farther away than it is. When checking traffic to turn at an intersection, always predict that a motorcycle is closer than it looks. A car pulling left in front of an oncoming motorcyclist causes the number one motorcycle and automobile accident.

Please do not do this; it tends to ruin everyoneâ&#x20AC;&#x2122;s day.

A motorcycleâ&#x20AC;&#x2122;s stopping distance is almost the same as for a car, but road conditions and rider skill level may affect stopping distance. As always, allow for more following distance when behind a motorcycle.

When a motorcyclist is carrying a passenger, this will complicate all of the motorcyclists riding responsibilities. Stopping distance, motorcycle handling, maneuverability and balance are all affected by the passenger. When you see two on a motorcycle, give the motorcyclist plenty of room.

Keeping a safe following distance when following motorcyclists cannot be stressed enough.

From the motorcyclist ability to slow with using the brake, to having a passenger, to having smaller mirrors making it harder to judge the distance of the car following them. We strongly recommend keeping a three or four second following distance and space

choose to ignore it. Whether unintentionally or through stupidity because the Cager is busy applying their makeup or talking on their cell phone while drinking their Starbucks coffee all while trying to drive. Please stop and be a responsible citizen and drive your car when you are moving. There will be plenty of time later in the day to use your cell and drink your coffee. Hopefully these tips will keep me alive by making you more aware of the characteristics of a motorcycle in traffic.

Finally, do not think of a motorcycle as a machine; we motorcyclists are people so treat us with the respect with which we are due. cushion when following a motorcyclist.

As the weather turns warmer, start to look for motorcyclists, especially when checking traffic at intersections. There are a lot more trucks and cars than motorcycles on the highways. Many motorcyclists do not recognize a motorcycle. They often

Date Doors Open 1/3 9:00 pm 1/4 7:00 pm 1/8 8:00 pm 1/9 8:00 pm 1/10 7:00 pm 1/11 9:00 pm 1/15 9:00 pm 1/18 9:00 pm 1/22 9:00 pm 1/24 9:00 pm 1/29 8:00 pm 1/30 8:00 pm

Bands Cover Ages The Pax Trend / The Known Pleasures $5 21+ Maleficent Vigor / Dischordia / Nebula X / Sinful Serpent / Phalloplasty $5 21+ JAM Musicians Night feat Walk Off Hits $5 21+ Haster / Journey 2 Rapture / Since Exile $5 21+ EYEHATEGOD with CATTLE DECAPITATION $20 21+ Gramilla / Vile Child / Vultures Picnic $5 21+ JAM Musicians Night feat Walk Off Hits $5 21+ Geezus Cryst & Free Beer / Loose Change $5 21+ JAM Musicians Night feat Walk Off Hits $5 21+ F-U Cancer Benefit Show feat Asylum of Ashes / Invaild prefix / Bell Avenue $5 21+ Richie Ramone $10 21+ Full Fledged / Insomnia Effect / Altered / Obsidian Order / Pieces of Policies $5 21+

W

ith the release of their 8th studio album, No More Hell To Pay, Stryper are set to reclaim their throne in the hard rock/heavy metal world. The album is released via Frontiers Records and is available everywhere now (album review). Arguably the band’s heaviest record to date, No More Hell To Pay manages to capture a new found intensity while maintaining the bold and personal faith-based message band leader Michael Sweet is known for. Sweet served as principle writer, vocalist, guitarist, and producer on this latest record and Metal Exiles is now able to share an exclusive interview with the man behind the Yellow & Black Attack! Please enjoy as he shares about the creation of the new record, as well as what to expect from his upcoming autobiography.

An Interview with Michael Sweet of Stryper

by John Knowles

Metal Exiles: Thank you for taking the time to speak with us. So, how are you doing?

Michael Sweet: Good, I’m just recuperating; I got in this morning about 8AM into Logan from LAX, and just catching my breath after that long weekend at the Whiskey and filming.

a full on U.S. tour to support the new album?

Michael: Absolutely, we’re planning on touring next year extensively in support of this album. Not just U.S., but Europe, South America, Canada, Asia, you know - everywhere we can get to. That’s the plan, and it’s looking really good right now, we have an agent overMetal Exiles: How do you feel seas working on it and we have an about your show and live taping agent here working on it. from the other night at the Whiskey? Do you feel you got a good Metal Exiles: This is the heaviest Stryper album, period. Is this what result out of it?

Michael: I think so; I mean I’m came out of you guys naturally or hoping for the best. I don’t think it was this preconceived? was our best show. We’re the kind Michael: It was definitely preconof band that likes to have rehearsal ceived, and I think it came naturalbefore we tour or perform, and we ly to a degree too once we set our didn’t get any rehearsal in. We sights on that. We have heavy in wound up having a couple of our blood, we grew up on heavy. weeks of down time, and then go- Some of our favorite bands of all ing out on the fly and doing it. time are Maiden, Judas Priest and There were some bloopers here and Van Halen. I think what happens there, and it wasn’t the best we’ve with a lot of bands is you stray sounded but when it’s all put to- from your roots and your past, and gether I think it’s gonna be we’ve done that. This is a full circle album for us, coming back great...it’ll be really cool.

100% to where we came from. And Metal Exiles: Any plans on doing that’s what we wanted to do, we

wanted to kind of hit people with a “bam, bam, bam”...no filler, every song hold its own, stand on its own, and also the album keep a flow, keep driving and not slow down too much. And that’s pretty much what we did, there’s only one ballad and it’s not a typical Stryper ballad, it’s a guitar ballad.

Other than that it’s really just getting in that ring with the prized fighter and going twelve rounds, you just kinda get beat up. It’s a real fast-paced, heavy record.

Metal Exiles: Tell me about the writing process, is it generally you writing most of the material and riffs?

Michael: The way it’s always worked from the very beginning is I’ve written most of the material, I mean 99% of the material. There are only a few songs over the years that I haven’t written. But the way it works is I’ll have the idea on a recorder, lately it’s my iPhone, and for this album I had over 40 ideas of me humming melodies or guitar riffs into my phone. Then I would go home, get my guitar out and

bit more with personal experiences on this album. And also applying that to my faith, and my relationship with God. Really in the end it all points back to God, because it all comes back to love and God is love. And it’s because of His love we’re saved and because of His grace and His mercy. So that’s what we believe and that’s what we’re still singing about.

then I would arrange chords to that idea and create the basic structure of the song. And then once I had those ideas I recorded those onto my iPhone with me humming (hums random melody) the guitar riff or whatever, and then when it was time to actually start preproduction for the album I spent about 11 or 12 days in my studio arranging all the songs. I got all 12 songs arranged, and then I had the band come out, I taught them the material, and then we went on the Monsters of Rock Cruise and we all took a live CD of us rehearsing the songs. Then we went into the studio after Monsters of Rock and we recorded it. So the way the process works for me is I’ll get away from writing, like I haven’t written a song since then. I’ve just been kind of clearing my head, and then I’ve got to dive-in in the next week actually to writing a new record that George Lynch and I are going to be working on. Once I get into that mode I’ll be working on a song every day, until I have 12 or 13 songs.

God is very loud on this album.

Did you feel he was directing this new record in a certain direction?

Michael: Well man we’ve always been so up front, and crystal clear about our faith and our message, and we never try to sweep that under the carpet. The one thing we do try to do is do it in a fresh way with each record. Because you can only say, “Jesus saves” and “Jesus is the way” so many times. And we did that in the past, I mean we laugh about it to this day. We had so many songs with “Come on, rock, rock, He is the Rock, the Rock that makes me roll” and “Rock the Hell Out of You.” So lately as a writer I’ve really been trying to get a little deeper with the lyrical content and even more so with this record. And I’ve written a little more about experiences, like the song “Sticks and Stones” is about the experience of me losing friends and them saying things that really hurt me and affected me in a negative way and how I just rose above it and moved on no matter what. And my relationship with them is no longer intact, but I’m doing alright, and I Metal Exiles: After all you have wish them well, you know, I’ve been through your message about moved on. I’m just going on a little

Metal Exiles: I like that, and I like how you put it in that fresh perspective. I definitely have been feeling that these last few records, and I appreciate that coming from you guys.

Michael: Yeah man. You know, music is music, it’s cool, it’s fun to play guitar, it’s fun to sing and get on stage and perform, but at the end of the day that’s not the meat and potatoes, you know, that’s fun stuff. But the reality and the real stuff that is eternal and is lasting and what matters in the end when we all take our last breath is what do we believe? And who do we live for, and who do we love?

That’s it right there, and that’s what we try to get across in a very strong way, in a bold way.

Metal Exiles: The title is very poignant. Where did it come from and is it personal to you?

Michael: For the title we were playing off the To Hell With the Devil album in all ways with this album, with the sound of it, with the production, with the song flow, with the style, the artwork, the visual. I mean we wanted to kind of come back to our strongest album and make an album that would rival that and even hopefully surpass it. So that’s what we thought when we were making the album. Same thing with the artwork and the title,

No More Hell To Pay. And what it means is: if you put your faith in God, there is no more hell to pay, because he paid the price. If we call on him, and believe that he can help us through and get us through anything here on Earth, our own hell here on Earth, there is no more hell to pay. If we believe in Him that He died on the cross, as the Bible says, for our sins and that any man that believes in Him shall live eternally and have eternal life, and won’t face hell, the hell that the Bible speaks of, there’s no more hell to pay. So it’s a real simple statement, but a real powerful statement as well.

Metal Exiles: Your vocal performance is very solid on this album.

How do you keep your vocal abilities polished and sharp today?

Michael: I try to exercise, and eat right and take care of myself. It’s more of a strain these days to keep my voice up. When we go out and do two or three in a row I’m feeling it, whereas back in 1986 or 1987 we could do four or five in a row and I could keep going. It was a lot easier to sing longer back then. But I just try to take care of myself, I sing on a regular basis and continue to make music and write, and perform and what not, I think that helps. I don’t smoke, I may have an occasional cigar or Metal Exiles: The artwork is abso- something like that but I’m not a lutely stunning. Where did the chain smoker, I don’t drink heaviidea come from to do something ly, and I just try to take care of my voice. And that’s pretty much it. so unique?

Michael: The guy’s name is Stan Decker, and he works for the label, Frontiers. I sent him an email explaining the basics of what I wanted to achieve with this cover, and getting back, I even referenced To Hell With the Devil, I said, “Look at that, get that album.” He has it on vinyl, so he worked off of that. I said, “Just one angel, the album’s called No More Hell To Pay” and he sent me the graphic for that and I opened it up and thought, Wow, this is absolutely brilliant and amazing. I think the album cover speaks for itself every bit as loud as the music does. A lot of people said they bought the album based on the cover, just because they liked it and they hadn’t even heard the songs yet, and then they heard the album and they loved the songs. It’s a really powerful cover, it’s a really great “metal”, “classic” cover and it’s got that retro classic old-school vibe and it’s very “today” too.

Metal Exiles: So no official training to this day, or a vocal coach or anything?

Michael: Not really. I mean, we had lessons as a band. We went to group lessons with a woman named Elizabeth Sabine, and she’s a world-renowned vocal coach, just awesome. But that was way back when, that was in 1985. We went to her as a group maybe 2-4 times, and that was it. I grew up in a musical family so I’ve been around singers my whole life, and I think most of it comes naturally, and then some of it comes from learning technique from other people.

For the most part it’s just a natural, in the family, in the blood kind of thing.

Metal Exiles: I’m sure you’re aware of how popular album releases on vinyl have been in the

past few years. Given your decision to release No More Hell To Pay on vinyl and with the t-shirt package, what are your thoughts on this recent resurgence?

Michael: I think it’s great, man.

There are many reasons why it’s great. The most important one is that it sounds great. I mean, vinyl sounds great. There’s something about having a great turn table, great speakers and a great amp, and you put that record on and you play it and its just sounds amazing. It looks amazing. There’s something to be said about holding a vinyl cover in your hands, looking at the cover in that size, enlarged. Then pulling out the vinyl itself, looking at it, especially the colored vinyl, and there’s just something really cool about it. Also as a fan it is a great thing to be able to collect and have as a one of a kind piece.

Metal Exiles: Totally agree.

That’s primarily why I got into it, between the sound and the look of it, it’s awesome!

Michael: Exactly, like you said the sound and look of it, yeah it’s a lot more pricey. And some people say it’s coming back, but I don’t know that it really ever left. I mean it was obviously much more popular back in the 60s and 70s, but I think it’s always kind of stuck around and I think it’s actually getting more popular and I’m noticing that more and more bands are releasing their records on vinyl and I think it’s cool, man...it’s great.

Metal Exiles: You guys are no strangers to covers. How did the Doobie Brothers track end up on your radar for this one?

Michael: You know, that’s actually a track that we’ve talked about covering for a long, long time. It

was not on the list of songs for The Covering, I think someone asked me that recently and I can say that it was not. It was just a song we had thought about covering for a number of years, and I thought after doing an arrangement of that song, man this would really be perfect on this new album. And I think it is, I think it fits right in. It’s got a powerful message, it says so much lyrically, and I love the breakdown...it’s like a roller coaster ride where it’s: (hums a bar) with that up-tempo, and then it has that “Sabbath” slow-down in the middle, I love that. The dynamics are incredible.

member. You know, things that I did in my life, poor choices from the time I was a little kid, the Against the Law period...I get into a lot of stuff in the book. At the same time it’s almost therapeutic to be able to write about it. I really wanted to not sling people under the bus, and hurt people. I just told my stories, and obviously other people are involved in those stories, but it’s my book about my life, and if I’m throwing anyone under bus I’m throwing myself under the bus. But it is exciting, and the reason why it’s taken so long to complete is because the label wants to release it with the album, and we had to re-write the book, and reMetal Exiles: You are putting the edit it twice. But it is done, and the finishing touches on an autobiog- album and the book will be coming raphy, where I am sure you ad- out next year for sure. dress in detail your decision to leave the band after Against the Metal Exiles: How is the vibe Law. How did it feel to go back within the band right now? Tim and not only recall but also pre- has been in an out since the reunpare to share some of those really ion. Do you feel that the four of difficult things? you guys are a solid permanent Michael: It’s a little odd; because band now? it brings back memories and things Michael: I think so, I mean we live that I don’t necessarily want to re- in different states, we don’t see

each other as much so we’re not as close as we used to be, but that doesn’t mean that we’re distant.

We don’t dislike each other. But it does mean that we don’t spend as much time together and I think with any relationship if you don’t have communication and you’re not hanging out you can put distance between yourselves, and grow apart to a degree. I think that’s happened to us over the years. I do believe also though, in saying that, that there’s a lot of life left in the band. I think we’re proving that with this album, and we plan to tour, we plan to make more albums, more music, and do a lot more until we can’t do it any longer. Or someone in the band doesn’t want to do it any longer. I do think it’s important that we stay together with the original line-up. I think that speaks volumes, and it’s very important, it’s very unique, it’s

very rare. And I would rather not continue on if any one of us was not here. We did it before with Tracy Ferrie and I don’t want to do that again. I don’t want to go down that road again where we bring in someone different; I’d rather just stop doing it.

Metal Exiles: For anyone in the “Christian music” scene I’ve always found that the label “Christian” followed by the musical genre to be a little absurd.

How do you feel about that? I mean, you guys are prominently labeled “Christian Metal” on your own website, the Frontiers website, and in any and all media coverage. Do you think this is necessary?

Michael: I don’t...I don’t like it.

We got in a little bit of a debate recently, Oz and I did, because Oz feels that if we don’t term our-

selves a “Christian” rock or metal band we’re going to offend our Christian fans. And I feel the exact opposite. I think our Christian fans are supportive enough and smart enough to know that we’re not offending them by not wanting to be labeled a “Christian” band. We’ve never swept our faith under the carpet. We’re as bold as we can be, at all times, in interviews, in songs, on stage, you name it. So we never run from that, ever. But at the same time, being labeled a “Christian” band really hinders us, and hurts us. When we’re put in the Christian category at a record store, if someone’s coming in who’s not a Christian to look for our album, they’re not going to go to the Christian category to buy it. I just think that people fear religion and Christianity often. It’s certainly one of the most hated subjects of conversation at the dinner table

along with politics. We’re a rock asked him to listen to the album band that’s comprised of Chris- because I respect him immensely, tians, that’s what we are. and he was gracious enough to do that. He came back to me and said, Metal Exiles: There’s been a lot of after to listening to it, that the song mention recently about some of he really liked and woke up with in the nods you and the band have his head was “Sympathy.” So that received from Dave Mustaine of really got the ball rolling in my all people. He shared with you his mind as to us thinking about that favorite track on the new record is song as the video. And I hadn’t re“Sympathy,” and you guys went ally been thinking about that song with his lead and shot a video for as a potential video or a single. So it. He also penned the forward in Dave helped that process, absoluteyour book. How does it feel to ly, which is really cool. And for the have the respect and support of forward in the book he wrote such an iconic thrash metal leg- something for me, which was really nice of him to do. It’s really end?

Michael: It’s really cool man. I short, it’s really sweet, and it’s rejust sent him the album and he lis- ally cool. I’ve got some other peotened to it, and it might have been ple too that have written quotes for the first time he ever heard us, I the book, and I’m excited about really don’t know. I don’t really that. I can’t wait to be holding that think that Dave is a huge fan, but I in my hand and knowing this is fithink he is in the sense that we’re nally a reality. Look for that, as I brothers and we’re friends, and I said, with the album next year.

http://www.kouvradio.com/

They’re going to be released simultaneously, and they are coming. I know I’ve said that multiple times, but they are coming for sure.

Metal Exiles: Michael. Bless you guys for what you’re doing and your ministry, and I really look forward to seeing you on tour next year.

Michael: Thank you for your time, and we look forward to seeing you on the road as well.

No More Hell To Pay is Stryper and good all-around melodic metal at its very best. Be sure to look for the band on tour in your area sometime next year, along with Michael Sweet’s much anticipated autobiography and solo album, Honestly.

Official Stryper Site Buy No More Hell To Pay Buy No More Hell To Pay On Vinyl

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The NW is RICH in talent and that talent NEEDS to be heard!

At KOUV we believe that the NW scene is HOT AS EVER!

Most parents get nervous when their kids start driving; I know I sure did. If other drivers heard some of the advice that hyper-nervous parents give their children, they'd be nervous, too. CV WorldWide takes a step off the beaten path this month and presents...

parents' bad driving advice to teens

Strapping yourself into the passenger seat the first time your teenager takes the wheel is one of the scarier turning points of parenting. Teen drivers are four times more likely to crash, on a per-mile basis, than older drivers, according to the Insurance Institute for Highway Safety. They are notorious for taking stupid risks and being overconfident about their driving ability. But before you start lecturing your kid, take a look in the mirror. Many of the mistakes teen drivers make stem from things they learn from parents.

"You hear all kinds of crazy stuff," says the president of the Driving School Association of the Americas in Kettering, Ohio.

Here's some of the worst driving advice parents give their teenagers.

sent text messages while driving.

Itâ&#x20AC;&#x2122;s widly know that kids figure, â&#x20AC;&#x153;If Mom or Dad can do it, I can do itâ&#x20AC;?.

It's OK to speed a little

Brad Ault, the president of the Florida Professional Driving School Association and Ault's Driver Education Center in Englewood, Fla., says he hears parents tell teens it's all right to drive five miles per hour over the speed limit because "everybody does it."

But they should teach their kids to obey the speed limit and to drive according to conditions. Too many drivers don't slow down when the weather is bad.

"That's what kills a lot of people," Ault says.

A speeding ticket for even 5 mph over the limDo as I say, not as I do it can affect your car insurance premiums, says PenTelling your kid about the danger of texting ny Gusner, a CarInsurance.com consumer analyst. and driving won't do any good if you pick up your "One minor ticket could go either way," Gusner says. cellphone while motoring down the highway.

"But two tickets -- even if they are both minor -- are "Parents say one thing, and then do some- a pattern that will scare your insurance company." thing different," says the general manager of All-Star Driver, a driving school headquartered in Watertown, Conn. "Starting at about age 11 or 12, your child is paying attention to your driving habits and noting consciously or subconsciously all those things you do ."

Two-thirds of surveyed teens say their parents live by different driving rules than the ones they expect their kids to follow, according to research in 2012 by Liberty Mutual Insurance and Students Against Destructive Decisions. Among respondents, 91% reported seeing their parents talk on a cellphone while driving, 88 percent observed their parents speeding and 59 percent said their parents have

You might have been taught to hold the steering wheel in the 10 and 2 positions, envisioning the steering wheel as a clock. But that advice became outdated when airbags were developed. Today, driving instructors generally tell drivers to hold the wheel at the 10 and 3 positions, avoiding an explosively deployed airbag.

All new cars sold today have at least front airbags, but most have side airbags as well. Some manufacturers now offer center knee, seat belt and pedestrian airbags.

Pump the brakes to prevent skidding Before modern brake systems were developed, drivers were told to pump the brakes to prevent them from locking up. But most cars today are equipped with antilock brakes, making pumping unnecessary, says the regional chief instructor for the Southeast for the Skip Barber Racing School in Braselton, Ga. Antilock brakes are designed to prevent your car from skidding when you use them in an emergency. For a vehicle without antilock systems, experts advise letting up on the brakes slightly, rather than pumping them.

"Pumping the brake pedal upsets the balance of the car," they say.

Airbags and antilock brakes, though nearly universal on newer cars, still bring a car insurance discount with most companies.

Look over the hood ornament as you drive Looking over the hood ornament doesn't give the driver enough scope. You should look farther up the road -- one to two intersections ahead -- in the city and as far as you can scan in the country, Fife says.

Keeping your eyes focused farther ahead, rather than right in front of you, gives you greater peripheral vision.

While you're driving, you want to see everything, but look at nothing. You want to be fully aware of what's going on around you.

Plus, how many cars have hood ornaments these days?

Hold the steering wheel at 10 and 2 Reprinted courtesy of msncom autos

Wait until you're 18, so you can skip all the requirements Many states require classroom and behindthe-wheel instruction for teen drivers to get licensed, but most don't require driver education for new drivers or place restrictions on them once they reach 18.

One expert says some families put off letting their kids drive until they're 18 so they can skip all those pesky requirements in place for younger teens.

But new drivers of any age can make mistakes from inexperience and lack of instruction. If the licensing age rises to 18 without the proper safeguards in place the crash rate for 18-year-olds will increase.

If more than 30,000 people died in the United States in a tragedy, experts add, "You'd be hearing all about it. But every year, that's how many people die in car crashes."