There are occasional golden moments in the life of an extreme metal fan when new music is so ridiculously brutal and over-the-top that the only fitting response is to burst into hysterical laughter. That is not to say that there is anything lightweight or comical about ARCHSPIRE, as anyone that has listened to the Vancouver quintet’s three previous albums will attest. But the music on “Bleed the Future” takes ultra-brutal, technical death metal wizardry to absurd levels of virtuosity and precision, and it’s as infectious as a fit of the giggles. Even in an overpopulated scene where lofty standards of musicianship are generally expected, ARCHSPIRE are an audacious proposition and seemingly so technically gifted that their only real challenge is to keep themselves amused.
“Drone Corpse Aviator” slams the gauntlet down for any other death metal with aspirations to be among the genre’s elite. Delivered at an insane speed, without sacrificing a single shred of lethal to-the-grid accuracy, it would be hugely impressive even without all the clever melodic tricks, blazing solos and moments of mechanistic groove that make its four breathless minutes feel so crafted and complete. Likewise, “Golden Mouth of Ruin” is a straightforwardly great death metal song, but one with bursts of inhuman complexity and a vocal from frontman Oliver Rae Aleron that defies all rational explanation, such is its speed and power. Although ARCHSPIRE are firmly in the tradition of forebears like NECROPHAGIST, ORIGIN and WORMED, the Canadians’ musicality extends way beyond those bands’ all-out tech attack. “Abandon the Linear” is another breath-taking, hyper-speed assault, but one whose twists and turns always lead somewhere fascinating, from drugged-out, downtempo interludes to juddering flashes of neoclassical shred. Meanwhile, the title track is a master class in syncopated violence and malicious mood swings, while also being weirdly catchy.
The second half of “Bleed the Future” keeps that speed and intensity at their absolute limits, across four more explosive mini-symphonies of destruction. ARCHSPIRE are so resolutely on-the-money throughout that, against the odds, they occasionally make playing this music sound easy. But it really isn’t easy. And it’s rarely this substantial, memorable or innocently enjoyable to listen to. Once listeners recover from the shock of hearing death metal shoved brutally into a turbocharged, steroidal future, “Bleed the Future” will stand out as a fabulously vicious and unrelenting metal record. This time, however, the bar has definitely been raised.
WHITESNAKE frontman David Coverdale, who turned 70 last month, has opened up about his plans to retire from touring after the band’s next batch of concerts around the world.
Coverdale discussed his decision to stop performing with WHITESNAKE while appearing on the “Appetite For Distortion” podcast to promote the newly remastered and remixed CD and LP deluxe editions of the “Restless Heart” album.
He said (as transcribed by BLABBERMOUTH.NET): “I planned to retire on the 2020 tour when I was 69. I thought that was the perfect age for the singer of WHITESNAKE to call it a day. But sadly, it was not to be, as we know; other events were in store. So now the t-shirt designs don’t resonate as well for 70. But it’s mind-blowing to me that I’m preparing my farewell tour. And it is — make no mistake, this is the farewell tour. I’m 70. It’s a very physically challenging thing for me to do at the best of times. But it’s very important for me to achieve completion and to express my appreciation and gratitude to all the people — the millions of people over the years — who’ve supported me for five decades, fifty years. It blows my mind — it really does.”
“A lot of my peers and contemporaries are on their 20th retirement tour. I don’t intend to plan that,” he clarified. “I must explain, though — it’s me, just David Coverdale, who’s retiring from touring at that level. WHITESNAKE will still make projects. I’ve been writing music all through COVID. I wrote some beautiful new ideas. I have ideas in case Jimmy [Page] wants to do anything — write on FaceTime, which is an alien concept to him. But all songs that we can utilize for a WHITESNAKE project. But the music of WHITESNAKE will continue. That’s most important that people know. I’m just stopping touring at this level — that’s it.”
According to Coverdale, there could very well be new music from WHITESNAKE in the years following his retirement from the road.
“I’ve got a bunch of ideas for WHITESNAKE, so we may have another project there — I don’t know — without the pressure of having to go on tour,” he said. “We have such a solid fanbase, I think fans are gonna buy the record with or without a tour. This is just emotionally for me to be able to go out there and do stuff. And also, you’ve gotta remember, we’ve started this legacy series of box sets, similar to the 25th anniversary. We have, I think, the 35th anniversary of ‘Slide It In’; the 30th anniversary of the WHITESNAKE ’87 album; we have a very special project planned to accompany the tour; we have another box set planned for this time next year. And then in 2023, we have the 30th anniversary of COVERDALE/PAGE, and the 50th anniversary of me joining DEEP PURPLE. Mind-blowing. So it’s not like I’m retiring. [Laughs]
“Thankfully, physically and vocally, I still have the goods,” he continued. “As my wife reminds me, I was actually touring up to spring in 2020, before lockdown. And I was 68 years old, and I’m still kicking ass. Of course, having an amazing band and an incredible and enthusiastic audience gives you that energizing aspect. It’s just the traveling is challenging for me. But music is oxygen to me. I’m not gonna go fishing or take up crochet; I’m gonna definitely be doing projects. I’m lucky enough to have my own studio. It’s the best of a bunch of worlds. And I have to thank people in person around the world for helping me to be in this position that I am in my life at this time. I don’t wanna do it through a video [on] social media: ‘Sorry we can’t get out there, but thank you for 50 years.’ That would be heartbreaking for me.”
Coverdale had both his knees replaced with titanium in 2017 after suffering from degenerative arthritis. He later explained that he was in so much pain with arthritis in his knees that it hampered his ability to perform live.
WHITESNAKE had been touring in support of its latest album, “Flesh & Blood”, which was released in May 2019 via Frontiers Music Srl.
This past July, WHITESNAKE announced that it had enlisted Croatian singer/multi-instrumentalist Dino Jelusick for its upcoming tour. Jelusick is a member of multi-platinum selling band TRANS-SIBERIAN ORCHESTRA and was previously part of DIRTY SHIRLEY (with George Lynch), ANIMAL DRIVE and recorded with many others.
In a new interview with Mexico’s WARP Magazine, RAGE AGAINST THE MACHINE guitarist Tom Morello was asked for his opinion on the state of the world at the moment. He responded (as transcribed by BLABBERMOUTH.NET): “The thing that gives me hope — and there are a lot of challenges before; in the face of the environmental challenges and the political challenges and the racist challenges — but the one message that I will just say over and over again that’s been a theme of all of my bands and all of my interviews is that the world is not going to change itself; that is up to you. And that history is not something that happens; history is something that you make. And whenever the world has changed for the better — in progressive ways, in radical ways — it’s been people no different than anyone listening to this right now who have been the people who changed it. You may think that your life is just Instagram or video games or working… You’re the one who changes it. It’s never been different than that. It’s people who have had no more power, courage, money, influence, creativity than anyone listening to this. It’s a matter of standing up in your place in time and unpologetically aiming for the world you really want.”
Morello — co-founder of RAGE AGAINST THE MACHINE, AUDIOSLAVE and PROPHETS OF RAGE — released his new album, “The Atlas Underground Fire”, on October 15 via Mom + Pop Music. The LP’s first single was the classic AC/DC rock anthem “Highway To Hell” featuring Morello, Bruce Springsteen and Eddie Vedder.
Morello is widely known as a barrier-breaking guitarist who continues to push the limits and prove the transformative power of music. Throughout his acclaimed career he has collaborated with everyone from WU-TANG CLAN to Johnny Cash. On “The Atlas Underground Fire”, as he did on 2018’s “The Atlas Underground”, Morello took a path into new sonic territory with the project’s breadth of talented collaborators, transforming his sound.
Founding BLACK SABBATH drummer Bill Ward has shared three new original poems apparently titled “Halloween 2021”, “A Walk Home” and “Cold… And Dark”. Check them out below.
Ward has released a number of poems in recent months, some inspired by the coronavirus pandemic and others celebrating the fall–winter holiday season, including Thanksgiving and Christmas.
Bill was on board for the SABBATH reunion when it was first announced more than nine years ago, but backed out soon after. The drummer later claimed that he sat out the recording and touring sessions because of unfair contractual terms, although the members of SABBATH have hinted in other interviews that he wasn’t physically up to the task.
All four original members of SABBATH were present when the band announced its reunion in late 2011. But Ward split from the group in 2012, citing an “unsignable” contract, and singer Ozzy Osbourne, guitarist Tony Iommi and bassist Geezer Butler carried on with their Rick Rubin–produced “13” LP and extensive international touring without him.
Ozzy told The Pulse Of Radio during SABBATH’s last tour that Ward was not in shape to participate. “Bill Ward has got the most physically demanding job of the lot of us, ’cause he’s the timekeeper,” he said. “I don’t think personally he had the chops to pull it off, you know. The saddest thing is that he needed to own up to that, and we could have worked around it, whether we had a drummer on the side with him or something.”
It was rumored that SABBATH wanted to bring a second drummer on the road to share duties with Ward, something that Iommi confirmed in 2017 during a question-and-answer session about SABBATH’s “Ten Year War” box set.
In 2015, Ward released his first solo album in 18 years. Titled “Accountable Beasts”, the record can be purchased on iTunes.
In November 2017, Ward’s band DAY OF ERRORS released its first two songs, “Day Of Errors” and “Blaspheming At Creation”, via iTunes, Spotify, Amazon MP3 and Google Play. Two more tracks, “Dark” and “Ghost Train”, followed in 2019.
This past March, Ward revealed that he was working on an autobiography.
#halloween2021 ? pic.twitter.com/eOlDMZtXug
— Bill Ward (@billwarddrums) October 19, 2021
A Walk Home. #halloween2021 pic.twitter.com/b0fFqjy4ag
— Bill Ward (@billwarddrums) October 27, 2021
Cold… and Dark #halloween2021 ? pic.twitter.com/NwhqCt6EKc
— Bill Ward (@billwarddrums) October 27, 2021
Hear and acquire this Gravesend flexi disc EP, featuring an exclusive brand new track, available as part of the Decibel Flexi Series. Hurry, quantities are extremely limited!
The post Gravesend Premiere New EP, “From the Gutter… to the Grave,” via the Decibel Flexi Series! appeared first on Decibel Magazine.
In a new interview with Sean Hood of the FM99 WNOR radio station, SHINEDOWN singer Brent Smith was asked he thinks his teenage son will follow in his footsteps. He responded (as transcribed by BLABBERMOUTH.NET): “Absolutely not. My son could care less that his father is in a rock band — or any band for that matter.
“My son just made the basketball team at school, which he hustled, hustled, hustled all through the pandemic all this year. The kid has got some serious game, I will give it to him, and he’s very, very sports-centric.
“From the moment he was born, I never, ever — me and his mother — we never made it about me; we never made it about what I did,” he continued. “His teachers and what have you, they’re massively respectful of the situation. And I just never made it about me.
“Growing up, I always wanted him to pick his path; I want him to go in the direction that he wants to go. And it’s really a beautiful thing in a lot of ways, ’cause he’s his own dude; he’s his own guy. When I’m with him, we don’t talk about me; it’s all him.
“I’ve told him this before, and he understands it. I’m, like, ‘I can be your friend later. I’m your father. I’m your dad. I’m responsible for you. And I wanna give you encouragement. I wanna set you up with understanding the value of hard work, that your word should be bond, and to be honest and to be a gentleman.’ And I have to say he’s exhibiting all of those great traits. Because I want him to be a real man. I want him to understand who he is. Later on in life, he may be more interested in it or what have you, but I just try to never make it about me.
“He is very into basketball, very into the NBA, very into being in school,” Brent added. “He’s 13; he’s gonna be 14 in December this year, which is nuts. The other thing, too — I’m not the tallest guy in the world; I’m five [feet] eight [inches tall]. My son is 13 and he’s already almost a foot taller than me… It’s, like, ‘How’s it going up there, son?’
“My son is really respectful. It’s a very proud moment for me too. He’s in middle school, getting ready to go to high school next year. All of his teachers go out of their way to let me know that he’s extremely charismatic but he’s also not cliquey at all. He is friends with everyone. They’re always very open with me about how… His teachers have said, ‘He’s one of the most empathetic kids here.’ It doesn’t mean he’s a pushover. But people, they gravitate towards him. And that makes me feel good, man, ’cause I always want him to be respectful.”
Three years ago, Brent said that his “number one priority in life” was his son. “I think how my success is determined is by how much time I can give to my son,” he said at the time. “I keep it very private in the world that he lives in — like teachers at school, people around him, they don’t really know what his dad does, because me and his mother, who are really really good friends even though we’re not together anymore, have a respect for each other and she knows that I want him to have a childhood. I want him to have an upbringing that is healthy, not only physically and mentally but where he is not pigeonholed into one particular group because of who his dad is. That’s my success: making sure he has a childhood, making sure he gets everything he needs for himself, but also making sure he understands that he has to work for it. So, my success is bringing up my son and him being a great man when it’s time for him to become one. He’s so amazing on so many levels, so I measure my success by him.”
More than a decade ago, Smith credited his son, Lyric Santana Smith, with saving his life. “I stopped doing drugs,” he said. “I was immensely addicted to cocaine and oxycontin. I was being the clichéd rock star. Cocaine and oxycontin I got hooked on real bad, but my son saved me from my vanity and selfishness. I’m lucky to be alive. I wasn’t knocking on death’s door; I was in the room doing shots with death.”
In January, SHINEDOWN will embark on its 2022 North American tour, “Shinedown Live In Concert”. Kicking off in San Francisco on January 26, the upcoming 22-date outing will see the acclaimed quartet travel throughout the West Coast, Canada, and more, with stops in Los Angeles, Phoenix, Denver, Las Vegas, Seattle, Calgary, Toronto, and Montreal. POP EVIL and AYRON JONES will support on select dates.
Metallic hardcore outfit Brick by Brick is sick of a lot of things, but not this classic jam from Sick of it All.
The post Track Premiere: Brick By Brick – “Just Look Around” (Sick of it All Cover) appeared first on Decibel Magazine.
When a band has notched up more than four decades of active service, releasing 16 studio albums along the way, the time for cynicism has definitely passed. RUNNING WILD have put the hours in and achieved the kind of legendary status that only true survivors are able to earn. Pioneers of power metal and, go on then, pirate metal too, Rolf Kasparek’s enduring crew have little to prove, and a solid fanbase — particularly in northern Europe — that probably doesn’t want the band to veer off course and make a jazz-funk record. And if at this point a lack of creative ingenuity is the only criticism one can reasonably level at RUNNING WILD, the Germans are obviously doing everything else right.
Kasparek has been quoted as saying that he believed “Blood On Blood” to be his band’s finest album to date, and while he will struggle to find many diehard fans who concur with that assessment, RUNNING WILD’s 17th full-length undeniably delivers the goods. The opening title track is an exuberant, melodically direct anthem with plenty of gung-ho folkisms in the guitar work and a singalong chorus of considerable girth. “Wings Of Fire” is a more straightforward metal thumper, an expected development on any RUNNING WILD record, and here executed with as much power and commitment as ever. “Diamonds & Pearls” is more of the vigorous same, and an obvious future live favorite; “Wild & Free” is a ballsy hard rocker with strong ACCEPT vibes and the faint stench of whisky and leather. There is one moment of moderate exploration: closing epic “The Iron Times (1618-1648)” delves into the Thirty Years’ War between Lutherans and Catholics in the Holy Roman Empire, building something pleasingly opulent and grand from that source material, with several killer hooks and a dash of orchestral, big screen bluster.
The downside to “Blood On Blood” may only apply to non-diehards. This is a solid and enjoyable heavy metal record, but RUNNING WILD are still occasionally dependent on well-worn cliches (“Wild, Wild Nights” sounds like a perfunctory composite of several ’80s hair metal bangers) and production values that would have brought the house down in 1986, but which today sound self-consciously old school and lacking in the muscular cutting edge that the likes of JUDAS PRIEST and, again, ACCEPT have shrewdly embraced in recent times, with excellent results. For those who live and breathe this stuff, none of that will matter one tiny fuck. On this ship, the flag is still flying, and the sails still billow.
Rudy Sarzo will play his first show as the returning bassist for veteran rockers QUIET RIOT on November 6 at The Groove Music Hall in Woodford, Virginia. Joining him in the group’s current lineup are guitarist Alex Grossi, vocalist Jizzy Pearl and drummer Johnny Kelly.
Rudy was one of the members of QUIET RIOT’s “Metal Health” lineup. He played bass on the classic LP, which sold over ten million copies and spawned the hits “Cum On Feel The Noize” and “Metal Health” and on the follow-up record “Condition Critical”.
Sarzo appeared in the most notable music videos in the MTV age and toured with the band until 1985 and again from 1997 to 2003. During his years out of the band, Sarzo was a member of OZZY OSBOURNE, WHITESNAKE, DIO, BLUE ÖYSTER CULT, QUEENSRŸCHE and THE GUESS WHO.
With the move, longtime QUIET RIOT bassist Chuck Wright has graciously stepped aside to continue his recent solo efforts while heightening his role with his award-winning residency show “Ultimate Jam Night” at the legendary Whisky A Go-Go which all the members of QUIET RIOT fully support.
States Sarzo: “I’m excited to be back home and celebrate the QUIET RIOT legacy, which began 40 years ago next year with the recording of ‘Metal Health’, the first heavy metal album to reach No. 1 on the Billboard top 200 albums chart.”
Upcoming QUIET RIOT shows:
Nov. 06 – Groove Music Hall @ Dominion Raceway – Woodford, VA
Dec. 04 – Ridglea Theater – Ft. Worth, TX
Dec. 31 – Fremont Country Club – Las Vegas, NV
Mar. 26 – Mass Mutual Center – Springfield, MA
Apr. 01 – Clay County Fair – Auburndale, FL
Apr. 09 – Seneca Allegany Casino – Salamanca, NY
May 07 – United Wireless Arena – Dodge City, KS
May 14 – Johnson County Fairgrounds – Centerville, MO
Jun. 03 – San Bernardino Fairgrounds – San Bernardino, CA
Jun. 18 – Grand Stage Amphitheater – Urich, MO
Jul. 09 – Caesar Ford Park – Xenia, OH
Oct. 08 – Little Creek Casino – Shelton, WA
Sarzo discussed his return to QUIET RIOT in a recent interview with Adika Live!. He said: “My decision, in addition to [it] being [late QUIET RIOT drummer] Frankie’s [Banali] request that I return to the band, was a decision that I had to meditate on it, because it is that important. Not meditate whether it was the right decision to make or not — no, that wasn’t the point — it was to meditate about the timing of it. Because it could not be an abrupt decision that you drop everything you’re doing and you change the band.
“Regina [Frankie’s widow] and I, we sat and we talked about it, and we said, ‘Okay, the best thing to do is to let everybody fulfill their commitments.’ Because I have commitments to the band that I’ve been playing in for the last five years, THE GUESS WHO. And I wasn’t about to tell them, ‘Hey, I’m outta here, guys. Good luck.’ I’ve never done that. So I have commitments with them. And QUIET RIOT has commitments with [longtime bassist] Chuck Wright. And we felt that the only thing that we can do, really — [we felt] that all these commitments must be fulfilled so our agreements with everybody is fulfilled.”
Rudy went on to say that he has been “making the transition” and “embracing again the whole QUIET RIOT consciousness” by going “back and playing the songs” again. “And actually, it’s been wonderful because, I’ve gotta tell you, to be able to go back to something that you did 40 years ago with the musician I am today, I’m looking at the songs a little bit different, as far as my own contributions,” he said. “Of course, it’s not gonna be something that is gonna turn into completely something else, but there are certain note choices that I can improve on.”
As for what fans can expect to see when he returns to the road with QUIET RIOT, Rudy said: “At the core of the show is gonna be a celebration of the legacy of our bandmates. It’s our responsibility as the ones left behind that we must celebrate. It’s a must. So that is at the core of the show.”
Wright has served off and on with QUIET RIOT for nearly 40 years, appears on nine albums, and is known as the bassist for QUIET RIOT’s mega-hit “Metal Health” (Bang Your Head) and “Don’t Wanna Let You Go”. He was a contributing songwriter on 1986’s “QRIII” and appeared in the band’s video for “The Wild And The Young”, among others. Wright has been one of the band’s longest touring and recording members.
Julien’s Auctions has announced the preeminent headliners of “Icons & Idols: Rock ‘N’ Roll”, the world-record breaking auction house to the stars’ annual music event of the season on Friday, November 19 and Saturday, November 20, 2021 live in Hard Rock Cafe New York and online at juliensauctions.com. Nearly 1,000 sensational artifacts and memorabilia owned and used by some of the world’s legendary music artists of all time, including THE BEATLES, GUNS N’ ROSES, Whitney Houston, Michael Jackson, Lady Gaga, Madonna, Robert Plant, Elvis Presley, Trent Reznor, Keith Richards, Eddie Van Halen, U2, and more will be offered.
Hard rock and metal fans will bang their heads to the appearances of the original artwork for the cover of the 1983 QUIET RIOT album “Metal Health” hand-painted by Stan Watts ($20,000 – 40,000), and the original metal “asylum” mask that Watts wore to create the iconic image ($8,000 – 10,000).
Items from the world’s most dangerous band, GUNS N’ ROSES, will also rock the auction stage including the 1989 MTV VMA Moonman presented to the band for “Best Heavy Metal Video” for “Sweet Child O’ Mine” ($10,000 – $20,000), a satin printed GUNS N’ ROSES after show pass signed by the band members, black Tama kick drum skins stage used by Steven Adler during GN’R’s “Appetite For Destruction” 1988 tour and signed by the band and more.
One of the most epic rock classics ever recorded by one of rock’s seminal bands, “Kashmir” is LED ZEPPELIN’s sonic masterpiece, along with “Stairway To Heaven” and “Whole Lotta Love”. Handwritten lyrics of the song by lead singer Robert Plant on a sheet of The Whitehall Hotel letterhead stationery will be offered with an estimate of $200,000 – $300,000. The lyrics are a rendition for a live performance of the song with some differences from the recorded version released on their 1976 album “Pink Graffiti”.
Another rock iconoclast and now auction legend whose original artwork and handwritten ephemera are coveted as much as his instruments and memorabilia is one of rock and roll’s most signature artists of all time: Kurt Cobain. An illustration drawn in ballpoint pen on a sheet of notebook paper by the NIRVANA frontman depicting many faces and eyes and a flower signed by Cobain in the bottom right corner as “Kurdt Kobain” will be on offer. The drawing (estimate: $10,000 – $20,000) was previously on display at the Museum Of Pop Culture “Nirvana: Taking Punk To The Masses” exhibit in Seattle.
Other handwritten and drawn items include (each estimate: $4,000 – $6,000): a white tablecloth with a handwritten setlist of NIRVANA songs, “Teen Spirit”, “About A Girl” and “Come As You Are” and signed by Kurt Cobain, Dave Grohl, Krist Novoselic and others; a handwritten setlist by Kurt Cobain on Sheffield University Students’ Union stationery, where the band performed the night before and a ticket to a NIRVANA performance at Calton Studios in Edinburgh, Scotland, on December 29, 1991; and a handwritten and signed setlist by Kurt Cobain from a concert at the East Ballroom of the University of Washington in Seattle on January 6, 1990 that includes the songs “Polly” and “Love Buzz”.
Other NIRVANA/Kurt Cobain items up for bid include “Illiteracy Will Prevail” from FECAL MATTER — the 1985 punk rock band formed by Kurt Cobain, Dale Drover (of the MELVINS) and drummer Greg Hokanson. The demo project on cassette features 17 unreleased tracks with notable demos that were later re-recorded and released under NIRVANA, including the song “Downer” which was later released on NIRVANA’s album “Bleach” (estimate: $3,000 – $5,000), a color photograph of Cobain at 15 years old in a snowy winter background, a signed NIRVANA concert ticket, signed denim vest and jacket and more.
Julien’s Auctions has shattered original estimates and broken world records with the sale of Kurt Cobain’s memorabilia and artwork, including: Cobain’s cardigan worn on “MTV Unplugged In New York” (sold for a record $334,000), his “In Utero” tour Fender Mustang guitar (sold for $340,000), his cardigan worn on his last photoshoot (sold for $75,000), a NIRVANA paper plate setlist written in Cobain’s handwriting which sold for a record $22,400; a self-portrait caricature drawing by Cobain of himself playing guitar signed “Kurdt Kobain Rock Star” (sold for over $281,000) and the Guinness Book Of World Record sale of Cobain’s “MTV Unplugged” 1959 Martin D-18E acoustic-electric guitar, which sold for $6 million making it the world’s most expensive guitar ever sold at auction.
Other exceptional highlights include: Keith Richards’s red with gold embroidery and rhinestone cropped jacket worn on the “Get Yer Yas-Yas Out” album, as well as on stage during the infamous Altamont concert, where an audience member was stabbed to death by the Hell’s Angels, and was featured in the Maysles Brothers documentary film “Gimme Shelter” ($8,000 – $12,000); U2 guitarist Edge’s concert used Gibson Les Paul Standard electric guitar ($50,000 – $70,000); Jim Croce’s Martin D-21 guitar ($40,000 – $60,000); an EVH Fender “Frankenstrat” guitar stage played by Eddie Van Halen signed by him and his brother Alex Van Halen, consisting of a guitar strap attached to screw eyes, bicycle reflectors on the back used to reflect the stage lights, five VAN HALEN 2012 guitar picks taped on the body and an image of Eddie printed on metal (the guitar was gifted to Kevan Hill, a childhood friend and first band mate of Eddie and Alex Van Halen in their first band, BROKEN COMBS, in 1964) ($30,000 – $50,000); a custom-made black 2007 Gretsch drum kit played by drummer Taylor Hawkins for FOO FIGHTERS accompanied by two FOO FIGHTERS Wembley Stadium fleece zip up sweaters, a backstage pass, two guitar picks and a pillow ($40,000 – $60,000).
“Julien’s Auctions is honored to present this extraordinary collection of historic and important music relics used by the pantheon of rock gods and pop music icons from the 20th century and 21st century at our annual two-day music event of the year,” said Darren Julien, president/chief executive officer of Julien’s Auctions. “The breadth and scope of these museum worthy collectibles represent not only the pinnacle of these legendary figures’ careers and their mythic performances but the impact of their artistry and the lives they lived on and off the stage that changed not only music but the world.”