Just don’t call him mundaneMegadeth’s Dave Mustaine plays a dark duet with Lacuna Coil |
| Megadeth front man Dave Mustaine really has been to hell and back. Hailed as one of the greatest guitarists of all time this thrash metal icon with the nimble fingers and snarling voice has weathered the slings and arrows of outrageous fortune and lived to tell the tale. Purportedly a "born again" version of his former demonic incarnation, Mustaine still retains his onerous reputation as a fiery redhead who’s not to be meddled with. "Just don’t ask about Metallica," warned his PR rep moments before this interview. Close to 25 years after his forced expulsion from that band, the story still resonates through the hallowed halls of heavy metal. However, were it not for his legendary ego, volatile temper, creative impulses, intense personality and penchant for revenge, Dave Mustaine might never have led such an improbably long and successful career. Though monumental, the path he has carved out for himself is a treacherous one characterized by alcoholism, drug addiction and constant infighting with his fellow musicians and record labels. Having given birth to some of the most seminal albums in the annals of heavy metal including five consecutive platinum releases (who could forget Peace Sells… But Who’s Buying? or Killing is My Business and Business is Good?), Mustaine seemed untouchable – until recently. Years of hard living and, yes, old age have finally caught up with the man who brought us Youthanasia. Motorcycle crashes, kidney stones, relapses, radial neuropathy, Saturday Night Palsy, electric shock therapy and radial nerve damage to his priceless left arm have all taken their toll. "Megadeth was blackballed from early on," he explains. "There were bad connections internally and externally. People misunderstood our lyrics. They thought we were preaching suicide. MTV vetoed our videos because they were pissed at our director – and radio follows MTV. It caused a huge chasm between the credible and the questionable, and we had to adjust to survive. It drove us underground. But that sounds like complaining and I don‘t like to whine." Rehabilitating himself and remastering his craft, Dave Mustaine’s determination to move forward culminated in his championing of 2005’s Gigantour festival, an Ozzfest-like concert tour that, while gratifying, reminded Mustaine of why he prefers to focus on his own band instead of facilitating others. In fact, this self-professed control freak admits he has learned that he’s better off letting the suits run the show behind the scenes while he concentrates on the music. "I’m far better off if I keep my hands off of things they shouldn’t be on and on my guitar," Mustaine chuckles. "I have the greatest management team in California by far, and this is one of the most exciting periods for me in my entire career. I’m taking advantage of the fact that I can be completely confident in their abilities, and that’s allowing me to work on all the projects I have lined up including redesigning my webpage. I’d rather worry about what things sound like than justifying myself to MTV armchair quarterbacks." Megadeth’s freshly minted 2007 release United Abominations signals Mustaine’s return to doing what he does best – pulling devastating headlines from the news and setting them to fantastically intricate speed metal. He confirms the rumour that in preparation for this, his eleventh studio album, he had been hunting down none other than Lisa Marie Presley to accompany him on a remixed version of the single "A Tout Le Monde." Perhaps it’s for the best that The King’s daughter was unavailable so goth princess Cristina Scabia of Lacuna Coil was cast in the role of accompanying female vocalist for the track. "It was kind of cathartic revisiting that song," he says. "I usually prefer to do a thing once, make it brilliant and get it over with. The risk of going over a piece too much is that it can become seasonally out of fashion. Asking me to go back and reproduce an album is like asking me to go back to the birth of one of my children and saying ‘OK, what would you change about them?’ But, it was actually fun to go back and revisit this idea. I had originally hoped that Lisa Marie Presley would sing on the album, she is a talented singer with a legendary pedigree. Unfortunately, the timing didn’t work out. We had to make an educated guess and it seemed like Cristina had the most credible voice out there. Doing "A Tout Le Monde" as a duet was a no-brainer, the song is a fan favourite and the performance Cristina gives is fantastic. Evidently, Lisa Marie was really sorry she wasn’t able to do it." As jaded by his tumultuous past as he may seem, Mustaine proves that he still has a few tricks up his three-quarter-length sleeve. His victorious appearance on Music Jeopardy! alongside fellow contestants George "Funkadelic" Clinton and Moon Unit Zappa confirmed his intellectual prowess as well as his ability to laugh at others, if not himself. "Funnily enough, I watched a tape of that show when I was visiting a friend in England. I thought it was a narcissistic experience. After having gone over a performance once I like to improve and move on. It felt weird and self-consumed to watch myself again. I was just trying to be kind to poor Moon. She’s such a tent peg. Right before the show George Clinton told me he was going to nab my jacket and I thought ‘I’ve got to take this guy out!’" by Christine Leonard Originally published MAY 31, 2007 in FastForward Magazine. |
Friday, 8 July 2016
Megadeth Interviewed by Christine Leonard-Cripps
Mudhoney Interviewed by Christine Leonard-Cripps
MUDHONEY STILL ROCKSLike a stick in the mud ~ Old grunge is the hardest to remove
Mudhoney takes their name from a film made by Russ Meyer,
the Ed Wood of heavy-breasted swinger flicks, with whom the band shares
an ample, albeit warped, hippie-rock esthetic. Their song "Beneath the
Valley of the Underdog," serves as a dual tip of the hat to both Meyer,
who also directed the brilliant "Beyond the Valley of the Dolls," and
Charles Mingus, who composed the inspirational "Beneath the Underdog." Formed in the mid-80s, Mudhoney are the original
grunge-rockers, and are considered to be one of the most influential
bands to emerge from the West Coast musical mecca of Seattle.
Along with fellow Washingtonians Nirvana, Soundgarden and Alice in Chains, Mudhoney's signature thrashy yet down-home style rock ’n’ roll helped them to pioneer a then burgeoning musical genre. The earthy power chords emanating from Steve Turner’s guitar were a perfect match for Green River alumnus Mark Arm’s watery vocals. Dan Peters climbed behind the drum kit, and Matt Lurkin (whose name appears in the title of a Pearl Jam song he inspired) provided a solid bass for Mudhoney to grow on. "Touch Me I’m Sick," the band’s debut single, was released in 1988 – a sleeper hit, the tune enthralled listeners with distorted guitar riffs, wah-wah pedal overtures and obnoxious screaming. The band’s first EP, Superfuzz Bigmuff, followed soon after and paved the way for mainstream acceptance of their heavy, lo-fi garage sound.
Despite talent and cohesion among its members, Mudhoney has never achieved the chart-topping limelight enjoyed by their peers. As other groups around them squabbled amongst themselves, split up and faded into obscurity, Mudhoney kept on keeping on. Even after Kurt Cobain’s death and the subsequent culling of grunge culture from the collective conscience, Mudhoney continued to perform for their ever-loyal fans. They have produced more than 10 albums in the span of little more than a decade, many of them still stubbornly pressed on vinyl.
"For me, it’s what I love to do," says Arm, discussing this trend-proof approach to music. "I was playing music for years before that whole grunge thing took off, and doing whatever I had to do to be able to do it. I’ve never quit. We didn’t really have any expectations going in. It’s not like me or anyone else in the band has ever had any goals of like ‘We’re gonna make it and if we don’t make it in five years we’re gonna quit.’ You know, to me, this is my life."
Lurkin has recently left the band, and new bassist Guy Maddison has stepped up to the plate. Mudhoney’s most recent album, March to Fuzz, a retrospective best-of double-CD, has fuelled audience nostalgia with one disc of choice cuts and another of little-heard rarities. Arm reveals that another Mudhoney album is in the works, and they are currently in the process of selecting producers on a song-by-song basis, hoping to tailor the sound of each track to their liking.
"It’s still rock and roll. The next album should be available on vinyl and should be on Sub Pop, too. What we’re planning on doing is, as we come up with songs, going to four or five different studios to people that we want to work with and compiling them all onto one record."
In the past, some fans and critics have been frustrated by the band’s long-standing policy of crediting all songs to Mudhoney as a collective on their liner notes. Arm asserts that this is the most accurate reflection of their creative process, and may have been a key factor in preserving the group’s integrity.
"I think it’s kind of obvious what each person does. Dan plays the drums – so he’s written the drum part! Even if someone brought in a whole completed song, it’s still going to get changed when everyone works on it.... A lot of times petty jealousies are created within bands. Credits and royalties disputes can cause bickering and in-fighting. We didn’t do this intentionally, but I think it’s added to the longevity of the band by keeping the egos out of the way. I mean, the fact is that anyone who gets onstage is ego-driven to some degree."
The band recently played with Motörhead in Portland, where Arm was thrilled to meet Lemmy. It's been some time since the band last visited Alberta, so Mudhoney is eager to make a brief jaunt across the border just to visit Calgary for two consecutive shows. While he admits that life-related commitments have limited their ability to tour widely right now, Arm promises that we will see a "potpourri," a veritable "goulash" of old and new material performed at these shows. He readily acknowledges that fans want to hear the classics, and as he puts it: "We’re not afraid to take it down memory lane. The Canadian people have always been good to us."
Mudhoney performs October 26 & 27, 2001
The Night Gallery
by Christine Leonard
Originally published October 2001 in FastForward Magazine.
Michael Franti of Spearhead Interviewed by Christine Leonard-Cripps
Walking on Sunshine
Barefoot philosopher Michael Franti basks in the glow
When
it comes to the upper echelons of world-beat hip hop culture, Toronto
may have Somalian royalty K’naan (also known as the Dusty Foot
Philosopher), but San Francisco can also claim its own unshod hero of
hiphopricy in Michael Franti. It’s
been an uphill climb for the 45-year-old reggae-revival heartthrob
since he made the decision to eschew all footwear over a decade ago.
Always open to new collaborations, Franti — who recently appeared on the
television series, What About Me?
with 1 Giant Leap — has thrown in his lot opening for guitar shaman
Carlos Santana for their upcoming West Coast tour, which is something
Franti considers both an honour and a challenge.
“Obviously,
I’ve been a Santana fan my entire life,” Michael Franti says. “It’s
amazing to be working alongside such a legendary singer and songwriter
who’s sold millions of albums, but he’s much more than that. Carlos has
taken the lead in San Francisco in terms of speaking out for things like
social change, environment issues and the equality of different people
and so on. So many times someone with that kinda success gets to a level
where they don’t want to risk alienating themselves. I admire artist’s
who can supersede that barrier to higher progress.”
Melding
elements of soul, funk, dancehall, rock-steady and hip hop into his
very own vegan stew, Franti bridges cultures and generations with an
intuitively groovy sense of timing and a compelling gift for delivering
brazen lyrics with a velvet tongue. Critics and fans alike were wowed by
the red-eye master’s incendiary 2008 release All Rebel Rockers and subsequent hit single “Say Hey (I Love You)” in 2009.
Franti
and his ebullient band Spearhead reunited with Capitol Records almost
15 years after leaving the label in the mid-90. Once again produced
under the sage tutelage of rock-steady gods Sly & Robbie, his latest
album The Sound of Sunshine
effectively encapsulates the singer-songwriter’s renewed sense of
thankfulness and purpose following a near-fatal bout of appendicitis in
late 2009.
“I’m
looking forward to working on some really cool projects in the future,”
Franti says. “I’m always collaborating with guys in my band and we’re
already working on the next recording with Sly & Robbie. We’ll be
taking the studio on the road again and trying out new songs on tour. I
drive the guys crazy because I’ll go into dressing room and ask them to
play a song we just wrote that day, or make changes based on the way it
went the night before. I’m so anxious to try things out.”
By
now an expert at gauging a crowd’s reaction to a given song, Franti has
found that the satisfaction of bringing joy to other people may be his
highest calling. From travelling the Middle East in search of lasting
harmony to mixing up a masterpiece at his Balinese retreat, Franti has
come full circle in returning to the city and the circle of supporters
that inspired his Beatnig past and sparked him to catch a fire.
“At
this point, I write songs for audience rather for personal reasons,”
Franti explains. “It’s coming from that place of gratitude. It’s
different when you don’t write for yourself. Writing for others drives
me to hone each song to its best essence. Our songs can be so uplifting,
positive and danceable, but on The Sound of Sunshine the songs are also so personal.”
He
elaborates: “That record is about my experiences with almost dying and
being so grateful to be alive. This new record is concerned with trying
to make sense of the planet. Not that I have answers for economic
crisis, climate change, earthquakes and tsunamis. I’m just trying to put
it all into perspective. What does it all mean? It’s about me wanting
to see signs that things are improving, as if I’m watching the world as a
snapshot from outer space. And, every day I’m alive I try to see one of
those small signs.”Santana with Michael Franti & Spearhead
Scotiabank Saddledome Monday, August 29
by Christine Leonard
Originally published August 25, 2011 in FastForward Magazine.
The Joy Formidable Interviewed by Christine Leonard-Cripps
Chorus of descent
The Joy Formidable generates its own gravitational field
The
latest “it” band to emerge from the U.K. is The Joy Formidable, an
emerging Welsh post-rock trio with its own Celtic cross to bear. Hailing
from “the land of song,” the genre-shaking trio holds its nation’s
reputation true for producing nonconformist choral arrangements, but in
this case the unconventional vocal harmonies are baptized in a font of
feedback and swathed in robes of electro-synth magnificence.
The
girl-boy duo responsible for the band’s frenetic bipolar frequencies
and lush Jesus and Mary Chain reverberations are sonic-soulmates
vocalist-guitarist Ritzy Bryan and bassist Rhydian Dafydd, who
originally met during their school days. Recording together in London,
the burgeoning group produced an admirable effort in the 2008 single “My
Beerdrunk Soul is Sadder Than a Hundred Dead Christmas Trees,” but
really hit the mark a year later with the launch of the corpulent EP A Balloon Called Moaning.
Granted the Radio 1 nod of approval, the airplay The Joy Formidable’s
stormy grunge-pop received enjoyed a warm zephyr of acclaim that carried
their austere amplitude around the U.K. and eventually across the pond.
“I
think we’re an oddity in that we haven’t relied on hype,” says Dafydd,
the band’s bassist. “The people who come to our shows are genuine fans,
and it is honest word-of-mouth promotion that’s gotten us to this point.
People are definitely catching up with our stuff as it gets released in
various territories and even though it can be a bit strange visiting
various places and people for the first time ever, we embrace the
challenge. One of the reasons we’re so excited about our first trip to
Calgary is that we’re always itching to get out further afield. I love
the feeling when people sing our songs back to us, because it shows
they’re emotionally invested in our music.”
Acquired by Canvasback Music via Atlantic Records, the freshly signed ensemble’s full-length debut, The Big Roar, hit American shores in January of 2011. While some bands might consider the sizable collection of eight tracks presented on A Balloon Called Moaning to be a full-fledged LP, Rhydian asserts that The Big Roar is the realigned trio’s official coming out party.
“Balloon is essentially just a snapshot EP; a real bedroom album. We’d prefer that people notice The Big Roar
as our debut because it offers something more substantial and
enduring,” Dafydd says. “Ultimately we were striving to create a debut
that covers all emotional ground we occupy. The Big Roar’s
nature is not contrived, but it is conscious of the need for peaks and
troughs. Everybody enjoys ups and down, so rather than thematically
stringing together 12 singles, we embraced our desire to explore our
range.”
Linking
up North American tour dates, the inimitable Joy Formidable, which
shares its nationhood with fellow musicians Manic Street Preachers,
Catatonia, Super Furry Animals and Bonnie Tyler (to name a few), has
found a fan in the Foo Fighters’ Dave Grohl. Currently, working with the
Foo Fighters’ noted producer Rich Costey for its forthcoming single “I
Don’t Want to See You Like This,” Rhydian and company’s melodic
melancholia came to the ears of the former Nirvana drummer as he was
cruising the freeways of California.
“The
tour with Foo Fighters is a very nice deal for us,” Rhydian says.
“Dave’s a super guy and it has all happened naturally and organically.
Apparently, he was driving when he heard one of our songs on the radio
and wound up humming the tune the whole way home, trying to remember it.
Later he found out who it was and tracked us down old school. Since
then we’ve met up when doing a couple of the same festivals and started a
neat little relationship that’s grown into this huge tour. He’s very
down to earth and there’s a mutual appreciation that arises out of the
belief in steering our own ships as artists. From day one, we’ve been
involved in dictating anything that concerns creative choices or our
band’s ethics and principles. You could say it’s all part of our
gangbang mentality.”
He
chuckles, and then adds, “We’ve always felt like we’ve got blinkers on.
You need to block out the chatter to see the real truth in what you’re
doing and people’s perception of it. It goes hand in hand with our way
of thinking. Being a success is more than a matter of interpreting
whatever you think the scene is needing. To be shit hot live band you’ve
got to deliver something more than just a tune that’s easy to dance to.
Believe me, being anti-formulaic isn’t easiest thing.”The Joy Formidable
Republik Monday, September 5
by Christine Leonard
Published September 1, 2011 in FastForward Magazine.
Cannibal Corpse Interviewed by Christine Leonard-Cripps
Cannibal is forever!
Coming face to face with the corpse that refuses to die...
Birthed in Buffalo, New York in 1988, Cannibal Corpse is one of the goriest bands in the heavy metal pantheon. Serving up a blood-spattered assault in the classic death-meets-thrash metal style, the band became an international cult sensation revered (and reviled) for their slaughter-strewn album covers and gut-wrenching musical feeding frenzies. A quarter-century later, the Florida-based quintet continues to produce some the most unsettlingly grotesque and technically extreme music on the planet.
“We took a primitive element and followed it up with a good memorable riff; straightforward and in your face. I get a sense that we were a world away from what the Californian death and thrash bands were doing,” says drummer Paul Mazurkiewicz, who along with bassist Alex Webster is all that remains of the band’s original lineup.
“At the time it seemed as though the whole East Coast, Buffalo scene was growing with the band. We were aware of the San Francisco scene, but this was pre-Internet and the only way to obtain new music was to seek it out. Things weren’t so oversaturated and it allowed us to evolve in our own weird way. Twenty-five years later and thrash music is more prominent than ever and remains huge in this region of the country.”
To celebrate Cannibal Corpse’s monstrous accomplishments, record label Metal Blade will be churning out a picture disc a month commemorating the band’s visceral 12-album back catalogue.
“It’s unbelievable — this is a real milestone for Cannibal Corpse,” says Mazurkiewicz. “Who would have thought that we’d be around long enough to enter our box-set era? Visuals have always been a big part of the band’s identity, our artist Vincent (Locke) has been a part of the band since the beginning. It’s great to finally have these albums released the way they would have been back in the ’80s when people were buying records.”
Controversial yet explicitly apolitical, Cannibal Corpse has come to measure success by the number of fans they’ve accrued rather than collecting awards to polish. Selling millions of albums, the band that brought forth classics like Butchered at Birth (1991), Tomb of the Mutilated (1992) and more recently Torture (2012) has endured and prospered against all odds.
“We’re lucky to have been around for 25 years — a lot of the bands that started alongside Cannibal have faded away. It’s hard to explain why we’ve endured. I truly believe it’s because we try to write a memorable song. It’s gotta be brutal and evil and heavy, but we’re not about following a formula.”
Possessing a thick skin, and thicker skulls, may have allowed them to survive the past, but it’s their open eyes and fluid minds that will enable them to confront the future.
“Like any good band in any genre, we’re constantly striving to play beyond our abilities,” says Mazurkiewicz. “You can tell that the band’s in a really solid place mentally and that we’re running on all cylinders. I feel like we are stepping things up more than ever and that we can keep going in that direction for a long time.”
Cannibal Corpse with Napalm Death, Immolation & Beyond Creation
MacEwan Ballroom Wednesday, May 22
by Christine Leonard
Originally published May 16, 2013 in FastForward Magazine.
Big Business Interview by Christine Leonard-Cripps
Big Business as Usual
Seattle's finest sludge~core flows into Calgary
While
certain musicians adhere to the belief that less is more, others take a
more aggregative approach when it comes to the fine art of songwriting.
The latter is certainly the case for the rock and roll disciples behind
Big Business. Despite forming as a stripped-down duo consisting of
bassist-vocalist Jared Warren and drummer Coady Willis, the band, now a
trio, generates bellicose ballads and soul-churning shakedowns that
belie its diminutive proportions. Melding
the best of heavy blues and moody metal, Warren and Willis bring forth
all the clout and clamour they’ve accumulated as members of The Melvins,
along with the addition of guitarist Scott Martin in 2010.
Thus far, the sloth-core outfit has manoeuvred under the lame-stream radar, striking a sympathetic chord with stoner metal fans and captivating audiences at festivals including Calgary’s Sled Island. Not so quietly amassing a back-catalogue of a dozen releases since their 2005 inception, such as 2009’s Mind the Drift and the recent 2012 MP3 release Always Never Know When to Quit, Big Business has found a rock-solid niche and a rhythm to their method.
Thus far, the sloth-core outfit has manoeuvred under the lame-stream radar, striking a sympathetic chord with stoner metal fans and captivating audiences at festivals including Calgary’s Sled Island. Not so quietly amassing a back-catalogue of a dozen releases since their 2005 inception, such as 2009’s Mind the Drift and the recent 2012 MP3 release Always Never Know When to Quit, Big Business has found a rock-solid niche and a rhythm to their method.
“We
had a really great tour this summer,” says Willis. “We planned to do a
lot of writing while we were on the road, and over the last couple of
months we’ve been putting together material specifically for our new
album. There’s no working title yet, but I can tell you that the songs
will be loud and there will be some distortion involved. No spoilers
there.”
What
is known is that Big Business will continue to operate as a thunderous
trio. For a little while, the duo expanded to a power-quartet, with
guitarist Toshi Kasai also in the lineup, but it wasn’t to last due to
Kasai’s conflicting demands.
“Being
a three-piece again feels really comfortable,” says Willis. “We kind of
miss having Toshi in the band, but he had to step down because of his
crazy recording schedule as producer and engineer. We’ve had to make a
lot of concessions, but now there’s a sense of synergy and enthusiasm
and fun as we move forward with Scott as our guitar player. We’re having
a lot of fun and things are definitely starting to come together for us
on all fronts — musically and personally.”
A
fresh-faced newlywed with a head full of dreams and hands of fire,
Willis has performed all over the world thanks to his passion for
percussion. The seasoned veteran of innumerable tours as a key member of
bands like Murder City Devils, White Shit, Low Dead Tide and Broadcast
Oblivion, Willis still craves a good challenge.
“As
a personal goal, I would like to have control of what I do in a real
way,” he says. “I’m constantly writing and trying new things, and I
always try to play on the edge of my ability. I like to step out of my
comfort zone to the point where I know that I’m never going to tire of a
song. I know some super-technical guys who drum in their own kind of
genres. It’s really humbling to spend 10 seconds in the showroom with
them and realize that there’s a whole world I don’t understand yet. I’m
glad I get to play with Jared, or The Melvins, or Murder City Devils,
and get to jump around style-wise. It keeps me sharp, and it makes me
grateful that I don’t have to play ‘Smoke on the Water’ for a living.”Big Business with Grandfather Fire, Poison Pens & Shematomas
Palomino Saturday, January 5
by Christine Leonard
Originally published January 3, 2013 in FastForward Magazine
Steel Panther : straight up dysfunction
Get on the bus! Steel Panther make it on the road
It’s a long way to the top if you want to rock and roll, but it’s only a short trip to the back of the tour bus if you want to record a new album. That is if you’re the lead singer for the internationally celebrated glam metal-comedy band Steel Panther. Bonded in 2000 under the moniker Metal Shop (later changed to Metal Skool and eventually Steel Panther in 2008) vocalist Michael Starr, guitarist Satchel, bassist Lexxi Foxx and drummer Stix Zadinia have discovered the best way to squeeze recording sessions into their busy tour schedule is to take the studio with them on the road.
“Right now we’re working on a brand new full-length record,” says Starr. “We’re going to be recording a lot of the vocals live on the tour during the rest of the year. If you record in the hallway where the bunks are and you put a lot of heavier girls in there it gets a real warm, thick sound. So, that’s a really good way to record a ballad. If we’re doing a full-out ‘Pussy Whipped’ or ‘Party Like Tomorrow is the End of the World’ we’ll go into the back-lounge where’s there’s a lot of mirrors to get a harder sound.”
Despite the tight quarters, fleshing out their latest vision with plenty of sex, drugs and rock ‘n’ roll is just business as usual for the L.A.-based entertainers. Having spent the past sweet 16 years traveling the globe and performing live alongside Def Leppard, Mötley Crüe, Slipknot and Guns N’ Roses, Steel Panther has enjoyed enormous success, particularly in Australia and Canada where they’re keeping the spirit of ‘80s hair metal alive and kicking.
“Right now we’re working on a brand new full-length record,” says Starr. “We’re going to be recording a lot of the vocals live on the tour during the rest of the year. If you record in the hallway where the bunks are and you put a lot of heavier girls in there it gets a real warm, thick sound. So, that’s a really good way to record a ballad. If we’re doing a full-out ‘Pussy Whipped’ or ‘Party Like Tomorrow is the End of the World’ we’ll go into the back-lounge where’s there’s a lot of mirrors to get a harder sound.”
Despite the tight quarters, fleshing out their latest vision with plenty of sex, drugs and rock ‘n’ roll is just business as usual for the L.A.-based entertainers. Having spent the past sweet 16 years traveling the globe and performing live alongside Def Leppard, Mötley Crüe, Slipknot and Guns N’ Roses, Steel Panther has enjoyed enormous success, particularly in Australia and Canada where they’re keeping the spirit of ‘80s hair metal alive and kicking.
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