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Issue #608.5

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Mini-Issue #608.5
September 16, 2011

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-Big week at Best Buy — Anthrax’s WORSHIP MUSIC, Alice Cooper’s
WELCOME 2 MY NIGHTMARE (with bonus tracks), and Dream Theater’s A
DRAMATIC TURN OF EVENTS are all on sale for $9.99 each. And I saw
Warrant’s ROCKAHOLIC for the same price, but not on sale. Let’s
celebrate all that goodness with some interviews. Enjoy! – Tim

by Jan W. (jw4jzon@hotmail.com)

-Interview w/ Aaron Wiig (The Stone Chiefs)
September 7, 2011

Put together five musicians from Raleigh, North Carolina, with a dream
and a label all their own, and you have The Stone Chiefs. This band
has accomplished quite a bit in the time they have been together:
creating a label, landing a tour sponsorship with Jagermeister
distributors (Sidney Frank, Inc.), and playing the Triad Music Fest in
Greensboro, North Carolina, as well as debuting their first release,
DRIVE ON. Aaron Wiig and his best friend David Arnn created this band
while they were in college. Brian “BT” Torrence joined the duo, then
they added seasoned singer Dallas Perry. The final piece of the band,
Michael “Twig” Neece, became their drummer with a “heavy right foot.”
Together they wrote and played until they were ready to unleash their
music upon the world. As Detritus readers check out their first
release, founding member Aaron Wiig agreed to answer some questions to
introduce the band.

DETRITUS: You performed recently at the Triad Music Fest in
Greensboro, North Carolina [September 3, 2011]. Was that your first
big festival?

AARON WIIG: There were multiple firsts for the band at that festival.
It was the first time the band played a stadium, shared the bill with
Grammy-winning artists, and performed while being projected on a
Jumbotron. It was a very exciting, fun experience. My highlight
(besides jammin’) was listening to the Carolina Chocolate Drops warm
up in the green room, great stuff! We have played other festival
shows, but the Jumbotron takes the cake so far.

D: Who would you most like to tour with, if you could create your
dream tour with two other bands? Why?

AW: The Black Keys, one of my favorite bands. If you don’t know who
they are you gotta check them out: blues-riff rock played by vocalist/
guitarist Dan Auerbach and drummer Patrick Carney. These guys generate
raw, in-your-face old-school vibes. I love the band and think their
crowd would dig our music as well. They also seem like cool dudes to
hang out with.

Radiohead — what band wouldn’t want to go on tour with Radiohead?
Although they are very different than The Black Keys, I think folks
who dig Radiohead would also dig The Black Keys and The Stone Chiefs.
I am one of those folks, anyway.

The Black Keys
The Stone Chiefs

The tour would sell out worldwide, that’s for certain.

D: Is there anyone in particular you want to work with that you
haven’t yet? If you could choose, who would you like to be a guest
musician on your next CD?

AW: Two people come to mind: Warren Haynes and Audley Freed.

Warren Haynes. I am a big Gov’t Mule fan…seen them many times live.
I also dig on the Allman Brothers [Band]. It’s possible I’ve seen
Warren Haynes perform live more than any other guitarist… except
maybe Neil Young. Warren is a master. He’s got a feel that only comes
from a life dedicated to the craft. He’s a great songwriter, too.

Audley Freed. I have huge respect for his accomplishments as a guitar
player over the years. Audley is a BAD ASS! I’ve seen Audley perform
with The Black Crowes, Peter Frampton, and Jakob Dylan… the guy is
everywhere. He used to be in a popular band called Cry Of Love back in
the day.

I’d love to have a bluesy-riff oriented jam tune where I can stretch
my legs for awhile, then Warren takes the helm with a slide solo to
make you cry, followed by Audley melting your face. That would be a

D: The Stone Chiefs have joined in an agreement with Jagermeister
distributors Sidney Frank, Inc. sponsor your tour. What advantage do
you feel this gives the band?

AW: Being sponsored by Jager helps our booking agent land us better
gigs. He tells them we got some free stuff to give away, which always
makes customers happy. Jager plugs us, we plug them. It’s good to have
a large corporation willing to help you out and the band is very
grateful for their support.

D: What is the most difficult aspect of songwriting? Where do your
ideas come from? Do lyrics or music come first, and does that affect
the song?

AW: Not all songs are great. At some point you get comfortable with
the idea that upon further reflection, that song you wrote awhile back
just isn’t as great as you thought it was when you first wrote it.
That is the most difficult thing to me… recognizing that sometimes
it just doesn’t come together and stand the test of time like you
thought it might. This is why you need to write more songs. It’s like
baseball. If you are batting .300 you are doing well.

D: Where do your ideas come from?

AW: My ideas for lyrics generally come from my life experiences or
those of people I know. Sometimes it comes out of nowhere and other
times it takes years for an idea to be fully developed.

D: Do lyrics or music come first, and does that affect the song?

AW: For me personally, music usually comes first. Sometimes music and
lyrics come around the same time. I usually get snippets of words or
phrases with the music… a melody, an idea for the direction and feel
of a song, and some phrases if I’m lucky. Usually I reflect, do some
re-working and then fill in the gaps if I think it’s worth anything.
If the music comes first, it tends to be more riff-oriented. If the
melody comes first the song tends to be more rootsy.

D: How do you think that the digital age has changed music? Has it
helped or hurt The Stone Chiefs?

AW: The digital age has wreaked havoc on the music establishment as
everybody knows. Major labels don’t take chances on bands much anymore
from what I can gather. Investing in and developing a band is
generally a thing of the past. Labels want bands to be money engines
before they get in the game. It’s a business after all, right? So
given the prevalence of music pirating it’s harder to get a label deal
and be developed by major labels than it used to be. Bruce Springsteen
didn’t release a commercially successful album until his third
release, BORN TO RUN. A label taking a hit on two albums to stand
behind the artist for a third is unlikely these days. Bruce most
likely would have been dropped after the first or second release in
today’s climate.

On the other hand, it is now much easier to get music to the world
market. Some clicking and uploading on a computer and all of a sudden
you can sell to millions of customers digitally. The issue is
convincing people to buy… or even exposing them to the band. How are
they supposed to know who is who, if there are thousands of other
bands putting music out there? Cutting through the noise is very
important, which is the advantage an established label, management,
and publicity team brings to the table. The bottom line is that you
have to create a buzz for the band first before getting the attention
of other industry players. I doubt there is nearly as much scouting
and risk taking by labels these days.

Even with the challenges, it is great that people have an outlet to
funnel their creative juices. I am a firm believer that if you work
hard and make great music people will take notice. It’s tough to say
if the digital age has helped or hurt The Stone Chiefs. I’d like to
think that people are yearning for more old-school classic rock
sounds. I guess time will tell. We’ve sold CDs outside the US, so in
that respect the digital age has definitely helped us.

D: How did the band decide to create their own label? What did you
feel were the advantages with the music business changing so much over
the past couple years?

AW: Honestly, we created our label out of necessity. We didn’t want
sales going to personal bank accounts. There are accounting and tax
burden issues. Plus we can use the record company to funnel our gig
revenue and expenses, recording cost, publicist cost, etc., etc. We
got enough money moving around to justify a separate entity. Although
it is cool we can say we own our own label, we would rather partner
with a well established label so we can focus on the music more and
record label business less.

D: What are your goals for the coming year, in terms of performing?

AW: I want the rest of 2011 and 2012 to be a break-out time for the
band. I believe in this band. We all have put so much effort into
creating a great album. We stand by our work and want to play as many
live shows as possible. We want to move towards playing larger venues
with well established acts in front of large crowds on a routine
basis. I’ve wanted to make my living playing music since I was a kid.
It’s a very real possibility now given the band has created this
awesome new album that is getting recognized at the national level. I
welcome the opportunity to be a full-time musician.

D: Each fan takes something different away from your music. If you
could choose one thing fans get from DRIVE ON, what would that be?

AW: I hope people appreciate the diversity on the album and the amount
of teamwork the band exhibits. There are four songwriters in the band,
although Dallas does the majority of writing / co-writing. This leads
to lots of influences on our music. All the songs don’t sound the
same, which is something I love about this band.

D: Who is contributing to your Twitter page, one band member in
particular, or everyone? Which Internet connection to your fans is
your favorite and why?

AW: I think BT handles the Twitter page more than anybody. If you want
to get up with us, the Facebook page is the best route. The official
website has lots of info and connects out to all the other media —
http://www.thestonechiefs.com/ is a great place to start.

D: What has been your most embarrassing moment (as a band member) on
stage or off?

AW: This has got to be when I lost my capo playing SXSW [South By
Southwest Festival in Austin, Texas] with Mike Posner and Eric Holljes
back when they were still at Duke. Mike was already making a name for
himself and lined up a showcase where some major label execs would be
checking him out. I got called in as a fill-in guitarist just for this
gig when Mike’s original dude flaked out. Mike Posner, Eric Holljes
(plays with Delta Rae) and I rehearsed three songs at my house
relentlessly before driving to Austin, Texas from North Carolina. We
set up in some bar/restaurant overlooking downtown Austin in an area
covered with decking. I’m setting up my rig, getting stuff ready…
and I knock my capo off the top of my Dr Z. That’s when things started
in slow motion. The capo didn’t even hit the deck boards; it just
perfectly flew right in between the boards and disappeared into the
darkness below. I was screwed. One of the songs absolutely required me
using a capo and I had no spare. The bar is packed. No other
guitarists are around. We are supposed to play in like five minutes.
There is a film crew following us around so I am trying to keep my
cool. I go over to Mike and tell him the situation. He says, “OK, no
problem man.” Then he un-mutes the guitar track he had on his
computer, which he was using for backing tracks and drums, etc. So I
ended up driving to Texas to play air guitar in front of major label
execs for most of that tune… except the little solo part. I felt
like a complete jackass and was very embarrassed about the whole
thing. After Mike got signed, the subsequent recording of that song,
“Cooler Than Me,” became a number-6 Billboard hit for Mike Posner and
Eric Holljes. I think it sold over a million downloads or something.
Interestingly, the hit version didn’t have a guitar track…

But with The Stone Chiefs, I couldn’t come up with anything more
interesting than the occasional guitar flub (always embarrassing).

D: What is the craziest thing a fan has asked you to do?

AW: I’m married. You should as the other guys that question… I got

I think it’s funny when somebody buys you a beer or a shot ’cause they
think you rock and try to give it to you mid-song. They will hold it
up for awhile wondering why you’re not grabbing it before realizing it
takes two hands to play guitar. People generally like to drink at our
shows and I love getting free drinks… it’s just funny when people
miss out on the whole guitar thing.

D: Is there anything we’ve missed that you would really like to add?

AW: Nope. Check out the music. Buy the album. Help a great band get on
the road.

Relevant links:

The Stone Chiefs

by Tim Wadzinski (tsw512@yahoo.com)

-Interview w/ Jammer (Brute Forcz)
September 8, 2011

You know how bands always say they kick ass? Well here’s one that
does, literally. Brute Forcz is comprised of former pro wrestling
brothers Jammer and Slammer, on vocals/bass and drums, respectively,
and guitarist Will Wallner. They just released a Bob Kulick-produced,
four-track EP entitled KICK ASS HEAVY METAL, and with that name and
song titles like “Live For Speed,” “Sex Machine,” “Thrill Queen,” and
“Leather N Chains,” you kinda know what’s in store — pounding old
school ’80s metal. And the guys wouldn’t have it any other way. I had
a chance to speak with Jammer about the brothers’ career changes —
from music to wrestling to acting and now back to music — as well as
their music, live plans, influences, and, yes, Kane Roberts.

DETRITUS: I was going to start off with a lame question, “How do you
pronounce your band name?,” but I did watch your video interview
online where you said it’s “Brute Force.” I wasn’t sure if it was
pronounced “Force” or “Forces.”

JAMMER: Yeah, it’s “Brute Force.”

D: Where did the lightning bolt “Z” at the end come from? Was it
inspired by the Kiss logo?

J: Ah, we were just trying to get fancy with that word “Force,”
because everyone puts “F-O-R-C-E” so we just put on a lightning bolt
in the shape of a “Z.” It’s our twisted mind.

D: Gotcha. So I see you and your brother started a band when you were
in high school, and then when the opportunity for a career in pro
wrestling arose you jumped at that. What was it that caused you to get
back into music now, after such a period of time?

J: We had always wanted to do the music, but other things like
wrestling had kind of derailed us. We had a really good opportunity,
and then through the wrestling we got opportunities to act. We were
acting in Atlanta, or in the south. We had a better opportunity to go
with an agency if we went to California, so we moved to California to
act. So the wrestling led to the acting, and then because of the
acting being kind of slow we were able to pick up the band again. So
we always wanted to play the music; it’s just that opportunities came
along that would help us out down the road, so we took them.

D: The songs on your EP have a very old school ’80s metal sound; I
think you’d agree. How does the sound now compare to what you were
doing with the previous era of the band?

J: That’s the style that we have. To us it’s a compliment to be called
’80s style metal because we feel that’s the best music out there. The
older bands, the ones that started out or who were hot during that
period and who are still playing now, are selling out and remain
popular because of that style. That’s just the style that we have.
We’re more the ’80s kids that like that style of music.

D: Have you changed since the early days?

J: No, we just actually got a little heavier. We actually tried to
start out as a cover band and it didn’t work out. We became a three-
piece band. In Atlanta they didn’t show Motorhead very much on TV or
the radio during that period of time, and I never really knew that
much about Motorhead. Someone played me one of their songs, “Killed By
Death,” and I’m thinking “Instead of us looking for a singer to do
covers, why don’t we become an original band because I can fit my
voice around a style like Lemmy did?” So since that period of time
we’ve just gotten heavier, more of a heavier sound. That’s our style.
We’ve got a better guitarist.

D: How long has Will been with you and your brother?

J: Will’s been with us since 2010. Our first gig that we came back
with was in January 28, 2010, and Will’s been with us since.

D: How did you hook up with him?

J: I needed to be a little better on guitar. I’m the bass player and I
wanted to be able to write my songs better, and play the music, or at
least give somebody an idea of what I needed to know, so I answered an
ad for a guitar teacher on Craigslist. Will ended up being my guitar
teacher. He had just finished breaking up with a band that he was
playing with for a couple of months. We asked if he’d play our music,
if he’d be happy doing that. And that’s how we hooked up with Will.

D: So it was pretty painless then?

J: (laughs) Well, it’s L.A. so nothing is painless. But yeah, we’ve
been the only three people in the band since we came back.

D: The EP has four songs, and I found others on your various websites.
There’s a “love song” called “Teenage Lover,” and I saw one called
“Freedom’s Heart,” and “Out For Blood” and “Hang ‘Em High.” So you
have more material. Why did you choose to release a four-song EP
rather than a full-length album?

J: Well, we really have about 13 songs so when we play live we have a
whole hour’s set of music. The reason we chose those four songs is No.
1 we didn’t have a whole lot of money, and mainly No. 2, is because we
wanted to put our music out there first and see what response it would
get before we did any more work. I don’t know if that’s a good answer
or not, but that’s exactly what happened.

D: Was it difficult to choose four out of the 13 for the EP? Or did
you feel those were your four strongest songs?

J: Yeah, it was definitely difficult to choose the four songs. But
when we went to Bob Kulick at The Office Studios he listened to all of
our songs and said, “You want to put four of your better songs up
front.” He liked those four songs.

D: I was fascinated by the song “Freedom’s Heart.” The title caught my
eye, especially with the proximity to the 10th anniversary of
September 11. I don’t know if there’s a connection; what is that song

J: That song is about that young lady in Iran named Neda [Agha-
Soltan], who got gunned down in 2009 for no reason at all. There was
all kinds of news about her. She actually had just tried to be a free
person. In Iran, I guess in their religion women can’t show their
faces and she wanted to show her face and wear jeans and just be, you
know, a regular person. And she got gunned down. So that’s what that
song is about. It’s not a political song — it’s about people’s
individual rights around the world, and how sometimes we don’t realize
how good we have it here, whereas in other countries they’re just
trying to be regular people and live a life and some people are
getting killed for it.

D: I think it’s an excellent song, very dynamic, and I was wondering
why it didn’t make the EP. Now I can see that maybe thematically it
doesn’t fit with what’s on the EP. Going forward, hopefully things
take off and you do a full album. When you do that, do you see
yourselves re-releasing the four songs from the EP with the other
songs you’ve already got, or do you plan to write all new material?
What does the future hold?

J: Yeah, almost all of the above. We’re always writing new songs.
We’re going to put a full album out soon, and re-release those songs
with it. We just really wanted to get some attention first, and we
didn’t want to burn everything out. Because sometimes when you’re a
new band and no one knows about you, and you put a whole album out,
sometimes all of it gets lost. I didn’t want all of it to get lost. I
wanted to get a little bit of attention first, and then go from that

D: Where can people get the EP?

J: We’re in the process of getting a website, but right now on our
MySpace page the links are there — iTunes, Amazon, CD Baby, Loud
Tracks, BraveWords.com, any of the major outlets. It’s all available

D: You mentioned Bob Kulick a while ago. His name pops up a lot —
he’s very busy and very successful. What sparked your collaboration
with him?

J: (laughs) Okay, it’s a good story. Recently, before we met Bob, we
had tried to get a couple of our songs recorded and we were having a
hard time because people out here in L.A. really aren’t that into
metal. You would think so but we had a hard time finding someone that
could produce a metal song. I took a W.A.S.P. CD, a Motley Crue CD,
and a Motorhead CD in to one guy and said, “Look, can you give us this
kind of sound?” He couldn’t. (laughs) So we had finished doing some
recording that wasn’t what we thought it should be. My brother and I
— we work out together at the gym — we would see this gentleman go
back and forth every once in a while and we’re thinking, “We know who
this guy is,” but we just can’t quite figure it out. One day the light
bulb went off and we realized it was Bruce Kulick from Kiss. I said to
my brother, “Why don’t we just ask him if he knows anybody?” So we
kinda cornered him in the gym and he had this look in his eyes like,
“Why are these two big gorillas crowding me? I haven’t done anything!”
But we introduced ourselves and told him we were ex-wrestlers, and we
act and we also have a band. We said we tried to do some recording but
we couldn’t get anybody to give us a good metal sound. And that’s when
he introduced us to his brother. He said, “My brother does recording.
I’ll give him your number, and here’s his number.” Bob actually called
us up the very next day, and then we met and talked about wrestling
for the first hour. Then we talked about what he could do to help our
band out, and give us a better sound and record with us. That’s how we
ended up meeting Bob.

D: Where does Bob’s nickname “Bonecrusher” come from? It’s in your
press materials but I’ve never heard that before.

J: We gave him that because he loves wrestling so much. He’s about
5’10” and 150 pounds, and he wanted to be a wrestler so we gave him
the name Bonecrusher.

D: To survive in the wrestling world and the metal industry I’m
guessing you need patience and a sense of humor. Is that about right?

J: (laughs) Yeah, times ten! And you need very thick armor. They’re
very similar industries. It’s a lot of “who you know” and you’ve got
to pay your dues, and you just have to kind of hang around, and when
you get an opportunity, take advantage of it. They’re very, very

D: Maybe you just answered my next question… Is there anything you
can take from your successful career as a wrestler and apply it to
making metal, and going out on tour to perform for people?

J: Well, really, what you mentioned — you have to be patient, and you
have to understand that sometimes things don’t happen overnight. You
really have to have thick armor. And you have to put yourself in a
position so that when you do get an opportunity, you’re well-practiced
or well-rehearsed in what you need to do, so that you can make the
most of it.

D: I wracked my brain to come up with some older wrestling/metal
crossovers. My list has the “Demon” wrestler/character based off of
Kiss makeup; Motorhead and Doro Pesch, who both have done theme songs
for wrestlers; and back in like ’95 there were the WWF Superstars &
Slam Jam with guys from Anthrax and Savatage. Then I saw Jake “The
Snake” Roberts mentioned in your press kit — wasn’t he associated
with Alice Cooper at some point?

J: I’m not sure if he was, but I know that he liked boa constrictors
like Alice does. I don’t know if he was ever connected with music at
all, to be honest with you. I know that Chris Jericho is the most
recent, and the most popular [with Fozzy].

D: What do you think of that? Do you think the two worlds just fit
together easily?

J: Yeah, I think they do, and I think Chris Jericho has a different
style than we have — I think that we’re more “heavy metal-er.” Yeah,
I think they go together.

D: I found it interesting you mentioned W.A.S.P. as an influence.
They’ve been around forever and had their ups and their downs, but I
don’t really ever see too many bands cite them as an influence. What
about them inspired you?

J: Just their sound — that buzz saw sound on the guitar, especially
on the first two or three albums when Chris Holmes and Randy Piper
were there. I just like that buzz saw sound that they have — “I Wanna
Be Somebody,” “On Your Knees,” and, you know, “F*ck Like A Beast,”
stuff like that. We just like that sound a lot, that guitar sound.

D: What was it like to play with them? Was that a tour or just like a

J: We did a show here in L.A. at the Keyclub. It was really good for
us because it was the first big show that we did where there was
actually quite a few people. We didn’t really get to hang with
W.A.S.P. or anything like that — I wish we could’ve. But going back
to the wrestling analogy, we’re just the minor leagues compared to
them. It was a good show for us. We got to play in front of people
that like our style of music, which we needed to do.

D: Speaking of the live front, do you have anything on tap? What’s the
logical next step?

J: We are trying to pick up on some tours coming up soon, and we’re
also trying to get into Europe. We’re also trying to get into the
Monster Truck Jams at stadiums to play. So that’s what we’re trying to
do now. We are trying to go live outside of southern California, and
tour with whoever we can, whenever we can. Those are the things we’re
trying to hit on right now.

D: How does the Monster Truck Jam thing work? Do bands play a few
songs or a full set at one of those?

J: It’s like a 45-minute set. It used to be sponsored by Advanced Auto
Parts, and they’d have a tent set up for people who bought reserved
tickets. They could go to an area where they could actually view some
bands, things of that nature — they’d kind of treat them to
something. But now they’re doing the show right before the Monster
Truck Jam, on the field before it actually starts. So like an hour
before, they have a band come on. A couple of times they’ve had REO
Speedwagon at these Monster Truck Jams, and they’ve had other bands
play with them, but we’re trying to be one of the bands — or *the*
band — out here on the West Coast, [where they have] a couple shows
in L.A., Anaheim, San Diego, and the big finals happen in Las Vegas.
We’re trying to play before those Monster Jams.

D: That sounds awesome. I hope it works out for you guys.

J: Yeah, great exposure for us, great fans — our kind of fans. You
want to play in front of your kind of fans, basically.

D: What’s going on with your appearance in the upcoming Adam Sandler
movie, “Jack And Jill?” Will this be your biggest exposure through
acting? What else on your resume may we know about?

J: We’ve actually done a lot of national commercials with IBM and
Budweiser. But yeah, movie-wise it’s gonna be our biggest thing. Well,
I can’t say it’s gonna be yet because we don’t know if our scenes will
be on the cutting room floor or not. I just know that we did the shoot
with Adam Sandler. Sometimes you make it on the screen, sometimes you
don’t, but by far that was our biggest movie opportunity right there.
The movie is supposed to come out this fall; it’s called “Jack And
Jill,” and it’s about twins. We don’t want to brag about it too much
because if we brag about it and then we don’t end up on the screen,
then everyone’s gonna go, “Ah, those guys are full of bull, whatever.”
(laughs) But no, we really were there working with Adam Sandler. We
just don’t know if we’re on the cutting room floor or not yet.

D: Is there anything else you’d like to hit on that I haven’t asked

J: Nah, you did a good job. We’re just old school metal. We want
people to know that it’s basically just good ol’ rock ‘n’ roll. You
know, that kind of music where you can roll your window down, play
your music loud and bang your head. We’re kind of disappointed in a
lot of the music today — there is not a lot of lead guitar, it’s just
kind of like a lot of harmonizing where they harmonize at you, and
then yell at you. We’re just the old school metal and we hope people
like that stuff. We think they do.

D: Well okay, then let me ask you — what do you listen to besides
your own band? Or are you one of those bands that can’t listen to your
own stuff?

J: No, we listen to our stuff a lot ’cause we just like it. I listen
to the older bands just because that’s what I like. We’re big
Motorhead fans, we like Priest, you know, Metallica, AC/DC, Pantera —
but they’re not around anymore. Slayer. I listen to Satyricon a little
bit. Other than that I’m not a big fan of today’s metal. You can call
it whatever you want — death metal, there’s all kinds of genres —
I’m just not really a fan. I’ve gotta be able to understand the words.
If you go 100 miles an hour… We played before in front of like, four
death metal bands and after I’d heard four songs, the whole night I
heard the same song from that point. I don’t want to be negative
towards anybody but we just like the old school metal the most. We
think that’s what we are.

D: Oops, I guess I have one more. It’s a stupid question. You remember
Kane Roberts from the old days?

J: Yes.

D: He was bulked up and quite huge for a while.

J: Yeah, he was jacked. We were jealous. (laughs)

D: Is it hard to play guitar when you’re physically that big? A lot of
times you see guys that are expert guitarists, and they’re spindly
with long, thin fingers. Do you know what I mean?

J: I agree; I totally agree. I don’t know how he did it, to be honest
with you. I don’t know how you can play guitar and be as jacked as he
was. I don’t know how you can play drums like that. You can play bass
’cause my stuff’s just basic. I’m not that jacked, but you could play
bass. That’s a good question. I don’t know how he did that. We
remember him, he was playing with Alice Cooper and then he came out
with his own stuff, and I remember going to my brother, “The guy’s
arms are like bowling balls — how did he get ’em that jacked? How’s
he able to play?” To me it would seem hard to be able to play guitar,
especially lead guitar, and have your arms be that massive and tight.

D: Maybe that’s why he kind of deflated later during his solo career.

J: (laughs) Yeah, maybe his career went down when his arms went down.

D: Thanks for your time, and take care.

J: Thanks for a good interview. Take care.

You know you want more. Go online to hear the EP and the band’s other
material, and check out an excellent video interview with both Jammer
and Slammer at http://www.youtube.com/watch?v=dDqHDHCPY0A .

Also, be sure to Google “Neda Agha-Soltan” or “Neda Iran” for more
background on the inspiration behind “Freedom’s Heart (Neda’s Song).”

Thanks to the folks at Chipster PR for setting up this interview.

Relevant links:

Brute Forcz

*** OUT ***

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