All posts by Whip

I am a freelance photographer, writer, musician.. basically any art form where only about 1% of its participants actually make money. I live in Philadelphia, but am looking forward to moving back to the country where I can roam free and 1 mile's drive takes 1 minute and not 10... life is too short for all of that. If I had one wish it would be to bring back all of the musicians that died young from drug abuse... bring them back and kick all of their asses.

Dave Grohl Joins Another Supergroup

Hot off the press at Rolling Stone (and with all the hallmark mistakes of the publication) this evening is new information detailing the album release of the new supergroup, Teenage Time Killers.  Bore from the mind of Reed Mullin of alt-metal group, Corrosion Of Conformity, Mick Murphy (My Ruin/The Birds Of Satan/Chevy Metal/Neanderthal) and John “Lou” Lousteau, Greatest Hits Vol.1, the new band will put out a collaboration-style record with the likes of Dave Grohl, Corey Taylor, Nick Oliveri (QOTSA, Mondo Generator), Neil Fallon (Clutch), Randy Blythe (Lamb Of God), as well as punk rock legends Jello Biafra (Dead Kennedys), and Lee Ving (Fear).  Also in the mix are members, both current and former, of the Misfits, Red Fang, Sunn O))) and more. The album is slated to drop in early January 2015 and was recorded at Dave Grohl’s Studio 606 , home of the infamous Neve mixing board, as seen in the Sound City documentary.

It’s no surprise to see Grohl, Taylor, Oliveri, Ving, and Biafra taking part, as none are strangers to collaborations. Dave Grohl, Corey Taylor, and Lee Ving all joined in to take part in the Grohl directed, Sound City documentary and soundtrack which was released in 2013, and even included a Nirvana reunion, which has since been dubbed, “Sirvana,” due to the addition of Sir Paul McCartney, who stood in for the now 20 years deceased legend, Kurt Cobain.

The debut release will be put out under the punk label, Rise Records, who have signed bands like the Bouncing Souls, Teenage Bottle Rocket, and 7 Seconds.

As well, earlier this year Corrosion Of Conformity also foretold of an impending record and tour in 2015, which will see the return of Pepper Keenan, who fronted the band for their 2 most successful albums in the mid-1990’s. Pepper has since been playing with the Phil Anselmo (Pantera) fronted band, Down, who are actually a supergroup themselves.



Why Scott Stapp Is Innocent

Ok, what the heck is going on here?? I don’t know why, but I want to believe what Scott Stapp is saying in his Facebook posts. Honestly, everything that makes him sound crazy are things released by his wife/soon-to-be ex-wife.

Say for one second that he is completely sane (really bare with me here). Say that some lawyer his wife is having an affair with is masterminding the ultimate plot by gaslighting the has-been ex-Creed singer. Add just a bit of insurance, by hijacking the kid’s twitter (or manipulating him to do it himself) and posts a thing or two up there to further the ruse.

Stapp’s internet babblings, to me, seem pretty sane, as well did the video at the police station a couple weeks ago. Then you have these egregious claims of behavior by his wife; things that no sane person would do. I think in one of them she explains that Scott’s always been a paranoid schizophrenic– perfect coincidence, since the person we see seems completely normal, and apparently there is this ridiculously insane, trouble making fool out there trying to attack the president?? And how many others that know Stapp have stepped forward to confirm this claimed schizo behavior? So, in such a scenario– the wife or her pretty boy lawyer (who I’m assuming exists on my own accord) plants the first seeds of insanity– they weren’t enough. Stapp responded publicly, and they realized that there’s no way people were going to think he’s nuts. He obviously appeared sober and “with it” in the video diary, so what gives?

Then come the gaslighting attempt on us, the public.  “Scott Stapp is a paranoid schizophrenic.  What you’re seeing is indeed a sane, reasonable person, but what you don’t know, is that at home, when the sun goes down, Scott is running around the house in a Batman costume, gathering tools from the shed and rambling about his secret government job and his mission to harm the President.”

Personally, I think the conspirators should have planted one or two more small seeds before laying down the royal flush here, so to speak. That claim is so big and bold that I’m almost willing to say  it’s a cliche because I am positive I’ve seen this before. Maybe not with all the bells and whistles I see in this case, but I know I’ve seen more than one episode of “World’s Dumbest…” video show where a drunk is telling the police officer he is in the FBI or CIA and on a “top-secret” mission. It might be so deeply associated with that scenario that anytime you hear… ‘guy believes he’s a secret agent,’ that you picture that crazy drunk who you know is, undeniably, a “crazy drunk.” Then, play on the fact that there are a world of people that hate Stapp for allegedly committing crimes against music at the beginning of the last decade. Even if they don’t believe the story being “spun,” they are all sharing the story in social media and laughing their asses off about it.

I’m not sure exactly what I believe. If Stapp isn’t nuts and his wife is orchestrating this ruse, then kudos to her. It’s a good one. I like to think that I’m open to both sides, but I like a good “conpiracy theory,” and this could be a great one. Whenever gaslighting is brought into a scheme, it has a weird way of not just making the victim seem insane, but also the audience to which the conspirator(s) need to make believe their story. So before you are ready to believe this nutty tale, why not give some thought to a nutty conspiracy theory first. Who will you believe? Who has the motive?



Just as I was writing this, even more evidence of the plot to defame Scott Stapp was released via TMZ. Three telephone recordings were released to the public– two made  to 911 emergency services and one alleged voice mail to his son, Jagger’s, school dean. The 911 calls do sound like Stapp and it sounds as if he’s really in trouble, his voice obviously shaken from whatever he had encountered. Let’s not forget, whatever your opinion on Stapp, that the man is a tenured pop musician and is worth some money.  I see plenty of motive right there. Who knows what moves Mrs. Stapp made to put her plot together. We know there are plenty of people that would; 1.) love to stamp out Stapp from the music business permanently and 2.) get with the former Miss America first runner up of 2008. I’m sure there are plenty that would help her out for free, but there’s even a third worm on that hook: Scott’s fortune. Even 10 years after the rise and fall of the band’s romp with success, you don’t simply go broke after you’ve sold over 25 million records. Remember they were there for the final peak of CD sales back when people still had to buy them to get music. With a hull like that I have no reason not to believe Stapp when he says he’s had $20M stolen from him without him immediately noticing it.

The other 911 call just depicts a moment of weakness in a lonely, scared, and shaken man. No more and no less. Is it a crime to call 911 when you’re scared for your life or your immediate well-being? I’m pretty sure that’s what it’s there for.

The last call to the school dean is an obvious crank call. You can just hear how emphasized the caller is on the impersonation, saying, “uh, hello, uhh, my family, uh national uuhh security..” Just compare the voice to the last two.

You’ve got a woman who has never worked in her life unless you count primping and pampering for beauty pageants, “work,” that is– you’ve got this woman who sees her husband’s career on the decline, yet still  incredibly wealthy, and knowing this, I assert, that she’s on a scheme, through discrediting the man and eliciting this response from Scott and then saying, “look– out of context this all looks completely crazy,  and that’s exactly how we’ll spin it.” And while that’s all good and fine for making him look like a tool in public, the courts are only going to look at the facts and hopefully they come to the right conclusion for Scott’s sake and that of his children. It’s really a crazy world when you can’t even trust your trophy wife, of all people.

Interview: Melvins’ King Buzzo Rips Rock Stars Who Make Political Statements, Talks Nirvana & Solo Tour

Over the last tumultuous thirty years we’ve seen the rise and fall of (insert everything you’ve ever once held dear to you here), proving that nothing is too sacred, nothing is so pure, and that nothing is resistant to change. In fact, the only thing constant in life is change (well that, and this clichéd-ass saying). And while no other industry has changed more quickly and dramatically than that of the music industry in that time, no one is more ready to meet it head on than Melvins frontman, Buzz Osbourne, whose music career has spanned each one of those 3 decades.

I had the chance to meet with Buzz before he took the stage in Philadelphia last week while promoting his all acoustic, solo album, This Machine Kills Artists, and the conversation went something like this:

You’ve been on tour all summer promoting the new album this This Machine Kills Artists, how has the crowd response been?

The response has been good. I really didn’t know what to expect so– I’m happy anybody’s here at all (chuckling)

The name of the album is This Machine Kills Artists. Would you care to explain the meaning behind the title?

It’s a take on the Woody Guthrie thing, but I don’t know if anybody knows what he meant by it so we can just leave it at that. It’s one big mystery.

So how did Woody Guthrie ever impact you or inspire you– or did he at all?

Him? Probably through Bob Dylan, who I think was a lot better. Dylan was inspired by him and a number of other people, but what I liked about Dylan is that he was mean spirited, much more so than [Woody Guthrie], which was more attractive to me.

So Woody had somewhat of an outspoken message in terms of his lyrics..

I don’t know what that would be. I have no idea

Well he seemed to be taking a stand against fascism in his lyrics.

What is fascism– what is a fascist??

You tell me.

No you tell me! That’s the thing. Before I can understand what he’s taking a stand against– I mean fascism as I know it, is somebody telling someone else what to do. Seems like he’s not adverse to that himself, so I don’t know what he means by fascists. I have no idea. If he was pro-labor, they’re telling people what to do too. What’s the difference? (Laughs) So I have no idea what he means? No clue. I doubt anyone’d ever ask him.

Then I’ll ask you– what’s your message?

Ummm… I don’t have any all encompassing message. I’m a huge Captain Beefheart fan and I didn’t have to know what he meant. It still works though. I think it’s pretty clear if you listen to it. I don’t know– I don’t have a plan along those lines. At least in my art I don’t mix social commentary. I think it’s a mistake, personally. I would like to think that people in their personal lives would look higher than entertainers for their political or their social beliefs… (stops to laugh) …though rarely do. I’ve steered clear of that.

Going back to April of this year, your old buddies from Aberdeen took the stage at the Rock and Roll Hall of Fame when Nirvana was inducted.

Was that in April? I’ll be damned. Good for them.

They kind of owe you and the Melvins quite a bit it from when they were first starting out. The introduction to punk rock, introducing Dave Grohl to the band…

Well I don’t know what they think, but maybe. (Pauses) It was very nice of them to acknowledge us.

I did hear Krist thank you in his induction speech for introducing he and Kurt to Punk rock way back when. Can you remember any of the bands you turned them on to?

Yes he did. That was very cool. I can’t really remember what bands, but they weren’t into much beyond your normal Led Zeppelin type of music. You know– weirder stuff, but I really don’t know exactly.. it was in the early 80’s, basically anything I was listening to which was a wide variety of things. He hadn’t heard any of it.

Last summer I went to see Mudhoney in New York when they were promoting their latest record, Vanishing Point. The Melvins and Mudhoney are 2 of those bands that came out of Seattle, and are still putting out great albums 30 years into their career, still plenty of energy on stage, but I was thinking of the album title, Vanishing Point. Do you think the title was maybe alluding to something more? Could that be their last record?

Yeah, that’s nice. I like those guys a great deal. They’re one of the only bands from that era that has anything to do with us. But no, I don’t know why they would. They don’t work that much. They don’t have too much going on. I think it’s more like a hobby for them now. Why quit?

Speaking of exit strategies, the Melvins have over 30 years playing together and more records than any band I can think of without Googling. Has there ever been a conversation about it?

(Hesitates)..N-No, not really. I mean, I might as well do it until I can’t.

Throughout your career the music industry has seen quite a bit of change– from cassette tapes, to CD’s, to digital. How do you feel about the present state of the industry and what would you change if you could?

Well, you know, not everybody wants to hear a shitty digital download. I’m still a big fan of CD’s, personally. That’s the best. But yeah the industry is definitely making it harder for musicians to make money off of their art. They’re really making it difficult for a lot of the artists who exist, so…. oh well. That’s the way it goes. The genie’s out of the bottle and there’s no way of putting it back. Might as well just accept it. At least that’s the way I see it– there’s nothing I can do.

What would you do if you could change it?

Nothing. Why would I? I’m not afraid of change. I’m up for the challenge, that’s why I’m out here with an acoustic guitar. Up to the challenge– do it, make it work. No, I wouldn’t change anything I think it’s a bad idea. I’m far too classic liberal. The basic nature of conservatism is things staying the same. Classical liberalism is people who aren’t afraid of change, whatever it may be. (Pauses) But not liberalism as we know it now. No, it’s a lot different. It’s closer to fascism. I have no interest in telling people what to do. Not at all. Not in any fashion. I believe as long as we’re not hurting anybody else I don’t see any reason why I should tell you what to do. And that’s called freedom. (Laughs) And that’s as close to a social commentary as I’ll make.

I’ll strike that from the record..

No you can’t. It’s out there now. That’s fine. I mean I don’t make, you know, comments about the president, or anybody.. wars– none of that. I have my own private ideas about all of it, but publicly I’m not going to get involved with that. It’s a bad idea, I think it’s stupid.

People should make up their own minds about that kind of stuff. Present company excluded, most rock people are whore-mongering drug addicts, who can’t even make good music. Why would we listen to them about a political issue? Or actors. Most of them wouldn’t work 2 months for two million dollars. There’s nothing you can learn from them — nothing. So why should we listen to them about any issue.

Because they’ve got the loudest voices?

Because they just want to make themselves look like they’re good people and they’re not at all. So I look to higher sources. I don’t care about what any of those people think.

If you haven’t gotten a chance to see his acoustic show, which features songs from the new record, stripped down versions of Melvins songs, Alice Cooper covers, and some hilarious stories– and you happen to live in–Houston, Austin, or San Antonio, Texas; Tuscon, Arizona; or Pioneerto, California– go check him out! Tickets are still available here.



There has been a lot of talk over the past few days in social media regarding Melvins’ drummer, Dale Crover, after a photo was recently posted on (the) Melvins Facebook page. The photo, taken during their night in Atlanta as they begin to wrap up their 30th anniversary tour, shows Coady, their secondary drummer borrowed from the stoner rock band, Big Business, Buzzo, a rambunctious Andre3000, and a very slimmed down Dale Crover.

There were quite a few comments posted on Facebook giving  notice to the guest-star of Outkast fame, Andre3000, but most of the posters were focused on a seemingly metamorphosized Crover.

Here’s just a few quotes from Melvins’ fans, that go from congratulatory and surprise to general concern for the drummer’s health:

  • “Dale looks like he’s lost a decent amount of weight. Good job dude!”
  • “what the f***, is this some amazing photoshop, i am not surpised (sic) about andre 3000 but dale crover looks like he lost 100 lbs”
  • “Look at dale! Atkins? Crystal meth?”

I sat backstage with the Melvins last September during their 51/51 tour and Dale definitely looked about 40 or 50 pounds heavier then than he does today. The new Dale doesn’t actually look unhealthy, but the rapid weight loss does arouse some questions, if not concern.

Compare the new photo to one I took in September and speculate until we get some proof positive answers. For now I’ll just say, congratulations and keep up the good work Dale! And I really can’t wait to hear his bass skills on the upcoming record, Tres Cabrones.



Thanks to GrungeReport we have ONE ticket up for grabs for the Mudhoney show this Saturday (5/11) at the Music Hall of Williamsburg in Brooklyn, NY.  Instead of sitting on your grungy keister all weekend you will have the opportunity to see one of grunge’s most poignant pioneers live, loud, and in your &$%#*!@ face!

They’ve just released a new album, celebrating 25 years of kicking a hole in your ear, and they’re taking Brooklyn back this Saturday… and you could be there to see it– here’s how:

GrungeReport is looking for your finest ORIGINAL artistic creation.  The only rule is that there are no rules!

EXCEPT for these ones:

Required Mediums:

  • Mud
  • Honey

Please spread, drip, splatter, brush, or squirt these onto whatever suits you, i.e.: paper, canvas, skin, clothing (although mud and honey not so great on the back of your jeans). If it’s not already a given– guys, if you choose to roll around in the mud and douse yourselves in honey– please keep your bits covered.  Ladies…hello– that will be all.

Submissions will be judged on artistic effort, originality, and attitude by yours truly.  My perfect submission will be horridly beautiful, terrifyingly sexy, and as raw as a vegetarian london broil. I hope none of that made any sense– now go get messy!

Deadline for submissions will be this Thursday (5/9) @8PM EST and judging will follow immediately so don’t be late. There will be NO limitation on submissions.  If you’ve got nothing better to do than soil objects in mud & honey all day and night, please be my guest.  Obviously you will be taking a photo of your “art” and emailing that… I don’t want a sticky mess in my mailbox. Make sure you are available this Saturday at 8PM to make the show OR please do not submit. Please include your primary contact info in your email so you can be promptly reached should you be chosen as the contest winner.  Tickets are still available (currently) for purchase if you don’t want to go it alone, OR you can hang with me and possibly the band (more on that later).

Send submissions to:

GOOD LUCK!’s Review Of Mad Season’s “Above Deluxe Box Set”

“Wake up young man, it’s time to wake up,” the haunting voice of 26 year old Layne Staley breathes into a microphone, echoing into the void space between John “Baker” Saunders’ ominous bass line and Mike McCready’s flange-laden guitar composition– both flanked by the light hands of Barrett Martin’s slow and steady rhythm on the drums. The emotion in his voice, telling just as much of the story as the actual lyrics, cannot be learned or practiced, but is a beautiful human response achieved from a life burdened with arduous torment.

Eighteen years after it’s initial release on Columbia Records, Mad Season has re-released Above, the cult-classic album created by four friends who set out with a “desire to make a different kind of music,” while all the hype of the Seattle grunge scene was fizzling out in the mid 1990’s.  At a time when great, original music has seen its better days, the remaining members of Mad Season reconvened last summer to go through the original tapes from their attempted sophomore album.  Not wanting all of those songs to remain locked away forever, Martin and McCready chose a few of the best tracks from those old magnetic tapes and decided to honor their lost friends, Layne and Baker, with one last eulogy set to the sounds of, “one of the heaviest blues bands to come out of Seattle,” as Barrett Martin describes.  They brought in Mark Lanegan, guest singer on the original 1995 release, as the expressive voice that would carry the band into the realm of that unfinished second album, honoring the departed members of the band with his touching, soulful lyrics and delivery.

Disc one contains the original Above album, remixed and reformatted, as well as five bonus tracks– four of them unheard until this year.  The sound quality is absolutely top-notch.  Brett Eliason, producer of the original Above record, really went above and beyond remastering the eighteen year old icon.

In Locomotive, Lanegan’s message is all too apparent- part one of his musical eulogy.  It’s one-hundred percent evident that the instrumental composition came from a time capsule, hidden away since 1996.  It’s raw and heavy and just– Mad Season.

Black Book Of Fear is a pretty, if not tearful number written by Saunders, McCready, Martin, and special guest, R.E.M.’s Peter Buck.  Lanegan’s complimentary lyrics depict a somber story, but I’ll let you interpret it on your own.  Isn’t that the fun of it?

Slip Away melds together the feelings of the previous two tracks in classic McCready fashion. The hollow minor chords push the song along, leading to a solo that paints the musical picture that McCready described in a recent interview, saying, you can just, “feel the pain.”

As a bonus, they tossed in their rendition of John Lennon’s I Don’t Wanna Be A Soldier; a track that was recorded for the John Lennon tribute, Working Class Hero, in 1995.  I’m glad they did because I had never heard this version before;  I thought I was hearing a new Layne song!  I’m actually glad that I hadn’t ever heard it until now– it was a nice little gift.

Disc two contains a perfect set from the band, recorded on April 29, 1995 at the Moore Theater in Seattle. The sound quality, again, is amazing.  It’s almost as clean as the studio remaster, and is definitely high-quality for a live concert recording over fifteen years old.

The setlist/tracklist includes:

  1. Wake Up
  2. Lifeless Dead
  3. Artificial Red
  4. River Of Deceit
  5. I Don’t Wanna Be A Soldier
  6. Long Gone Day
  7. I’m Above
  8. I Don’t Know Anything
  9. X-Ray Mind
  10. All Alone
  11. November Hotel

The emotion that the boys (and 42 year old Baker) put into that show can really be felt in every song. McCready’s leads are electrifying to the point of actual face-melting (put on some SPF before you listen).  What really adds to the already immense sound is the saxophone work from Seattle jazz musician, Skerik.  I keep wanting to call him Shriek…  The noises he produces on the saxophone are unbelievable. He goes from a standard jazz sax, to blissful shrieks that could be mistaken for the sound of an electric guitar, or even a Moog synth. Make sure to notice him on I don’t Wanna Be A Soldier, Long Gone Day, and most notably on November Hotel.  The man goes OFF!

Layne’s voice is absolutely massive and soulful and beautiful all at the same time.  No frills.  No auto-tune.  He fills the mic with blistering human emotion in every word.  To hear it is bliss, but we get to see it, too.

The DVD on the third disc has been a “Long Gone Day” coming to say in the least. I’ve seen this footage plenty of times and even have it on my tablet, but the quality on those previous versions comes up way short.  Thanks to the technologies of today, they were able to produce a high-definition quality video with clear, crisp audio.  Aside from MTV’s Alice In Chains Unplugged and old Alice music videos, we’ve never had such a clear look at the singer doing what he does best.  From only listening so much, people sometimes tend to forget that beautiful sound is coming directly out of the man himself.  Being able to watch Layne sing on such a high-quality DVD is truly a gift.

The rest of the band is just as fun to watch.  From seeing Martin totally losing himself on the drums, to McCready putting to use a double-necked Gibson SG (a la Jimmy Page), to Baker being the professional bluesman and comedian that he was– it’s definitely something that shouldn’t be taken for granted being able to watch.

The DVD contains plenty of footage from the concert at the Moore Theater.  Seven songs are pro-shot and another handful recorded from, what I would assume is, a lower quality camera, maybe belonging to the band. Also included is footage from the entire concert they performed at RKCNDY in Seattle, on New Years Day, 1995, as well as their Self Pollution Radio video.  The SPR video is another one I’ve seen several times, but having it on a DVD makes the audio/visual experience ten times better.  The guys are really enjoying each other in this segment. Lastly, the DVD concludes with the one music video they made, for River Of Deceit.

Before I conclude, allow me to mention one more thing included in the contents of the box-set.  Inside of the quad-fold, cardboard-stock packaging is a booklet featuring the song lyrics from Wake Up to November Hotel, to Lanegan’s newly published lyrics on the three bonus tracks.  Of course, you’ll see the familiar credits, and thank you’s inside as well, but in the beginning of the booklet is a note from Barrett Martin– more like an essay, actually. I urge you all to read it.  Read it twice– then read it again.  He beautifully transcribes the story of the band from its adventurous beginning to its tragic end, and gives a heartfelt eulogy that touches upon John “Baker” Saunders, Layne Staley, and the band itself.  If, when you read it, you aren’t fighting back the lump in your throat that precedes tears, you are either more a man than I, or have no heart at all.  It was a very nice read and a perfect addition to the reissue.

Finally, I want to thank the guys of Mad Season for putting this out, and for Barrett Martin’s vivid recollection of his time with the band, and with Layne and Baker.

If it’s even necessary or allowed (with a reissue) I want to give this box set a score of 5 out of 5. It’s simply amazing… now go buy it!

Also, for you audiophiles, look for the double-vinyl release on RSD (Record Store Day), April 20th, which will include the contents of disc one of the “Above Deluxe” box-set.  Reserve your copy today– I’m sure supplies are very limited.  There are also t-shirts being sold at several online stores right now in case the album alone isn’t enough Mad Season for you.




This is exactly why Seattle is the coolest city I’ve never been to.  Mudhoney graced the front page of the city’s premier news publication, The Seattle Times, in Thursday’s edition with an exposé honoring their 25 years together.

When asked for a comment on the band’s ‘silver annivesary,’ Mudhoney guitarist, Steve Turner expressed, “The 25 years means something, maybe, but you can use that kind of thinking to boggle your mind on any front,” he said. “I’ve been skateboarding for 35 years, and I’ve been alive for 48 years.”

Turner went on to say that if an anniversary brings more attention to Mudhoney’s new album, that isn’t a bad thing. The record takes its place as one of the their best in years, showing that age is just a number, and that the band still has plenty of fuel left after 9 full length albums spanning a quarter of a century.

“We can’t deny that rock music was created as a youth thing,” Turner admitted. “But people just keep doing it as they get older, like us. How do you age in something, and stay youngish, if that’s possible? It’s a weird, built-in problem.”

Vanishing Point is the band’s latest forth-coming release which hits record stores this Tuesday, April 2nd.  It will be succeeding the documentary of the band, I’m Now, which was released late last year. The documentary revisits the beginnings of Mudhoney and the birth of grunge, as well as Sub Pop records, which (not so coincidentally) celebrates it’s 25th anniversary next month. Now– back to the future, Mudhoney’s new release is still up and available for free streaming in it’s entirety right here. For the full story, click The Seattle Times link at the top of the page.

I also want to remind you that while you are at the record store picking up Vanishing Point on April 2nd to look for the Deluxe Reissue of Mad Season’s Above, which includes bonus tracks, and the remastered DVD of their legendary performance at the Moore Theater, April 29, 1995.


Shirley Manson reiterated this week on her Facebook page that the sexual relationship she had with her music teacher at age 15 was purely consensual and she was not the victim of sexual abuse from a pedophile.

Manson’s statement read: “I want to make it perfectly clear once and for all that I have never been the victim of a pedophile nor have I ever claimed to be.

“I was a few weeks shy of my 16th birthday, sixteen being the legal age of consent in Scotland, when I engaged in a fully consensual relationship with a teacher whose real identity I have always been careful to protect.”

Manson goes on, “At no point have I ever said this teacher was an employee of Edinburgh Council.” The council began an official investigation after Manson came forward with details of the relationship in a recent interview.

The singer concluded by saying, “There are so many people who have been the true victims of sexual abuse throughout the world and they deserve justice and our compassion.

However I do believe a distinction must be made between a person who is within weeks of the legal age of consent and an innocent child.

Otherwise we all in danger of becoming distracted from the really serious issue at hand which is that of child abuse. An issue which genuinely demands our urgent and focused attention.”



This weekend Garbage is taking the stage at 3 separate venues, on three consecutive dates along the eastern seaboard to benefit epilepsy awareness.  Long time Garbage fans living in the tri-state area will have no problem following the band up from Silver Spring, Maryland Friday night, to Philly on Saturday, and up to NYC on Sunday night to conclude the concert series.  This marks one of the rare occasions where 2 of the largest metro areas on the east coast welcome Garbage into their cities.

On a more serious note though, this is all part of a larger concert series that will take place in all 50 of the United States to help bring awareness to epilepsy.  According to the CDC, 1 in 26 Americans are diagnosed with epilepsy in some stage of their lives. That’s over 150,000 new diagnoses every year. Personally, I love when an artist can take the time to perform for charity, no matter what the cause.  A couple other artists performing from our genre include Soul Asylum and Living Colour.

For more information on the concert series, purchasing tickets, or to make a donation please visit  Candle Light Concerts.

Tickets range from $25-50


  • 3/21 The Filmore, Silver Spring, MD
  • 3/22 Terminal 5, NYC
  • 3/23 Electric Factory, Philadelphia, PA


In an article released today on SPIN magazine’s website, Adam Jones talks about the re-release of ‘Opiate,’ which will feature new illustrations by Iron Man artist Adi Granov and innovative packaging designed by Mackie Osborne, Jones’s friend (and the wife of Melvins frontman King Buzzo).

I hope you all still have the CD jacket from ‘10,000 Days,’ because the reissue will contain new artwork to view with the ‘10,000 Days’ goggles. Tool have prepared five different versions of the artwork for the reissue (out March 26), limited to 5,000 copies total.

On ‘Opiate,’ Adam Jones goes on to say, “The record company was pushing us very hard to make this big, kick-the-door-down record. They told us it needed to have all the heavy stuff, so we believed them. And I don’t regret it. It was kind of testing the water. We ended up going down a different path than I thought we would go down, but I think it worked for us.”

When questioned on how the new material matches up to the 21-year old ‘Opiate’ EP, Jones stated:

“We’re older guys now. The band has changed drastically. We’re very distant people now and have our own lives. It’s always been like that. It’s been a collective perspective even from the start, but now it’s much more diverse. And I’m not saying that’s bad. It’s just different. So writing is a different perspective now. It’s taken a little longer. And besides that, we’ve had a couple major setbacks that we’re recovering from. I’m calling March “March Madness” because I’ve been really trying to kick ass and focus on this thing and get it to a point where we’re all happy. I really love those guys. And people grow and they change; it’s just like a relationship. You just have to compromise and respect each other. It’s just like life. It’s like anything else. That’s where it’s at.”

For the full interview, head on over to SPIN Magazine. Interview With The Melvins

Almost halfway through their record breaking tour (yes, there is at least one other band claiming to have done this) the Melvins had made their way into New England. The weather was probably something reminiscent to a typical day in Seattle where almost 30 years ago they had spent the beginning of their careers playing alongside Kurt Cobain as Fecal Matter before Nirvana had formed in 1987.

Once I heard about this insane and “stupid” tour I knew I had to make it to at least one of the shows. While the Melvins were part of the Seattle grunge scene, and were even colleagues with Nirvana, they never gained the notoriety that a lot of the other bands achieved. Call it a blessing or a curse, but they were never tainted by the fame and fortune like some of other bands were. I used this to my advantage and a couple months before the show got in contact with Melvins’ PR rep to ask about shooting the concert. I got my permission and on Friday night I went in to “work,” for I did some test shots with the opening band, trying to find the best vantage points. I found a nice little balcony left of the stage, bullshitted my way past security, and went upstairs.

That’s where things got interesting. I made my way down a dark, empty corridor and realized I was right outside the Melvins’ dressing room. After wiping the perspiration from my palms, I opened the door and walked in. Seated to my left was bassist, Trevor Dunn, and straight ahead, Dale Crover was standing, beating the hell out of a big black gig case, labeled MELVINS with his over-sized drum sticks which seemed to be half mallet, half drumstick. I introduced myself and walked through to the balcony, trying to make sense out of what just happened. Not a minute later another door opened, and Buzz sauntered out to where I was for a moment. He walked to the balcony’s edge, peering down at the stage for a moment like the wise old owl of the forest then went back to the dressing room. I decided that it was time to assume the role, so I went back into the dressing room and asked Dale and Buzz if I could get a couple shots before they went on. They were both really accommodating to it, and just really nice guys– average Joes, if you will. Dale just kept drumming on his case, while Buzz says, “Sure, what do you want me to do?” Instantly I thought, what do I want you to do?? This is fucking King Buzzo, the Godfather of Grunge!

“Just be Buzzo, man.”

“OK, I’ll do my best,” he laughed.

I took 2 shots, the first of which was slightly out of focus, as I anxiously fumbled with the focus ring.

At this point I figured I’m in a 10×10 room with the Melvins and no one was asking me to leave, so I just started talking. Keep in mind, I had no idea that the course of events that night would lead me to hanging out with the Melvins behind closed doors, and I had nothing prepared to talk about. With the new Soundgarden single still in my head from listening to it all day, I figured I’d talk about that. What do you think about Soundgarden getting back together and putting out a record after 16 years?

King Buzzo: I don’t really care about it [laughs].  I didn’t like their last record. Badmotorfinger was good, but it was overproduced. I haven’t really liked them since Chris was playing drums. Wow, that’s going way back.

King Buzzo: Yeah. He’s better than the guy that replaced him on drums. Matt Cameron? I’m sorry, I’ve never heard that before. Matt’s always been one of my favorite drummers. He’s a beast.

King Buzzo: [shakes head] Chris Cornell is a better drummer than him. That’s insane. I’ve never heard that before.

King Buzzo: [still shaking his head] Chris Cornell is as good as a drummer as he is as a bad guitar player. Oh my god. I love it.

King Buzzo: He was a good drummer. I think he was a good drummer, didn’t you?

Dale Crover: He was fucking good. I thought he was OK with his rhythm [guitar].

King Buzzo: No, Chris. Did you ever hear him play drums? No, I never heard him play drums, but you’re talking about his guitar.

King Buzzo: No, no, no, no, no. It’s like a typical, music-typical drummer who wants to play guitar. [Smiles, laughing] Not very good.

Dale Crover: Then you’ve got Dave Grohl, it’s like great drummer…

King Buzzo: Dave Grohl’s not going to be a better guitar player than a drummer.

Dale Crover: No way. He’s not saying he can’t play guitar, but…

King Buzzo: He’s not exceptional at all. The drumming he did on the Queens Of The Stone Age record was ridiculous.

King Buzzo: Yeah. He was almost as heavy as Dale.

Dale Crover: And that Killing Joke record he played on.

King Buzzo: That Killing Joke record was the best thing he’s ever played drums on– by far. I mean, he’s a good drummer, and a very, very mediocre guitar player. What about the singing though?

King Buzzo: I don’t like it. Aww..

Dale Crover: Who? Dave or Chris? Chris.

King Buzzo: It’s ookay. He’s lost a bit of it over the years, but still sounds pretty good.

King Buzzo: His scratchy vocals might be better now [Dale laughs]. Really?

King Buzzo: Maybe [laughs]. Might be. (Exit King Buzzo) It’s too bad you guys didn’t do Philly this tour.

Dale Crover: Yeah, we did PA last night. We were in Allentown. The drive was a little easier from there. Otherwise, the Philly crowd is great. I like the TLA. Thanks for the interview, Dale. Have a great show, man.

Dale Crover: Thanks.