kevinbower1959

Forgot to mention that the expected audience for Hyde Park will top 50,000 ..... Edited to add - and being a Limey, I totally forgot that it's INDEPENDENCE DAY for Chrissakes ..

I'm in. How about London Hyde Park on July 4th playing alongside Black Sabbath, Soundgarden, Faith No More and Motorhead? Or ship it to Alicante for August 16 where we have a show with Michael Schenker, Behemoth and Arch Enemy. Or another 6-week European tour starting November 2? Or a bunch of stuff in between times depending on availabilty. Either way, I'll add to the case candy ....

I know I posted this before, but for anyone who hasn't seen it - the 'Weapons Of Choice' used for tracking our second album; Left to right; My 4-digit #0204 - 95% of everything you'll hear was tracked on this. It sings. Andy's 2012 ESP LTD Nergal Signature 7-string - used to add grunt in a few places Andy's 2013 DBZ Cavallo ST-FR Andy's 2012 ESP Edwards Custom Shop V Andy's 2013 ESP Custom Shop Andy Sneap Signature V, with a flame top Hamer would have been proud of, plus a titanium Floyd My '08 Standard Custom.

Wow. I feel like I just spent two years writing a killer original album for nothing. Without the brave pioneers who stake their claim to be different and innovative, we'd have nothing to inspire us, excite us and have our jaws on the floor. Guys in my fortunate position would also be swallowing up the dozens of free guitars I get offered, instead of sticking to my guns and wearing a minority instrument from a dead manufacturer.

Any modern metal band who advertise the fact that they belong to a specific 'genre' are by definition unoriginal, lame copyists with no creativity or musical direction/ideas of their own. Just by reading the ad copy I can tell you EXACTLY what these guys will look like and EXACTLY what they will sound like. They'll have the right tattoos, the right T-shirts, the right cutoffs, the right sneakers and the right sideways haircuts. They'll play exactly the same done-to-death blastbeats and growled vocals, along with the same swept arpeggios - exactly the same as hundreds of other no-hopers - and collectively represent a microcosm of everything which is wrong with metal in 2013. Line 6 won't be acceptable because it isn't kewl enough. Just sayin'

So sorry about the live stream screwup guys. The whole thing was a technical nightmare virtually from start to finish - which was a disappointment especially for our crew guys who had somehow managed to rig that entire stage set and pyros in 18 minutes flat - a miraculous achievement even by their standards. The live sound at the event was utterly flawless, and it's disappointing for us hearing the godawful temporary stream mix which is the inevitable result of some poor guy sat in an outside broadcast truck who suddenly gets 48 channels of unmixed audio thrown at him - in the knowledge that it's going out real-time live as he scrambles to fix it.. Stuff like this is pretty typical of the mega-pressure of a festival environment where 15 or 20-minute changeovers between bands are the norm. We (our crew, monitors and FOH guy) deal with it on a weekly basis and we're pretty good at hitting the ground running. But you then factor in two extra set of feeds and patches which are going out live......... The only saving grace is that the second set of feeds were for Scuzz TV, who had the foresight to actually record the feeds on ProTools, so at some point there will be a version of this with decent audio on it. Anyways - here's the disaster timeline as I know it; 1330 We get the 5-minute call from stage management 1333 Our intro runs, just as Scott (our guitar tech) tidies up the backstage prop area. He picks up my 4-digit spare to check the tuning, and somehow manages to turn on the radio transmitter which is plugged into it as he walks around carrying the guitar. That's the strange grunting guitar sound you can hear at the beginning over the intro. 1334 Our FOH guy realises exactly what's happened and mutes my guitar through the PA, but it's still being fed to the outside broadcast truck which is why you can hear it on the video stream. I also realise what's happened and go running backstage desparately trying to find Scott. By this time, our 'acolyte monks' already have the stage fires burning. With seconds to spare, the transmitter's turned off, Scott radios FOH and they unmute my guitar with around 4 seconds to spare as we walk out onstage in front of 12,000 people. Shit happens.... 1335 The show starts. The audio's horrible (mostly bass and vox) but the guy in OB starts to fix it. 1343 A mosh pit starts up near the sound tower. Someone falls over a security barrier and the barrier's steel leg digs into the ground, rupturing the sleeving on the broadcast multicore which is buried 6 inches deep in the soil, and breaking the master earth return line. The buzz starts. The broadcast guys frantically try to figure what's gone wrong. 1350 They give up and pull the plug. Here it is in all its horrific glory http://www.youtube.com/watch?v=iNxkz_YC5bg The good news is that everyone at the show was totally unaware of all of the above. The got 60kW's worth of monster audio and the Hell show they'd come to see. We're already runaway leaders in the 'performance of the festival' polls and we broke all records in merch sales - a sure sign of a good time being had. Apologies again that my HFC buddies couldn't share in this. Best wishes Kev

Hey guys, Since a US tour still hasn't happened yet.... We're playing Bloodstock Open Air tomorrow (Saturday 10th) - along with King Diamond, Accept, Exodus, Slayer, Anthrax, Lamb Of God and dozens of others. It's the UK's biggest metal festival and we hit the mainstage at around 13.35 UK time. The event is being live streamed - so grab a few beers and tune in; http://www.dailymotion.com/video/x12kc97_live-steam-bloodstock-festival-2013_music Best wishes

A thing of beauty and wonder indeed. Happy for you, bud

This. TOTALLY THIS. Great job Zen. A coupla Super V orders coming SD's way from the UK

Looking through the websites posted as suggestions by stratacus and many other of you guys, I can well believe it. They all look fantastic - what a selection, and a real eye-opener for us Brits who always assumed that American beer started and ended in MIlwaukee. Just in case anyone was wondering how come the band has its own beer - here's my kid brother's microbrewery..... http://www.northstarbeers.co.uk/

OK - I know it's not American, but I had to add this. It's the band's own beer. At our last show, we sold 9 UK kegs at the venue bar (about 630 pints) We're bottling this from August onwards - so PM me your address and I'll throw some samples in the mail. Same goes for any other HFC member who fancies a super-strong traditional black English ale made with 6 different malts. Note to belgian - you'd like this. Think of a micro-brewed, slightly sweeter Leffe bruin or one of the darker triple Trappist beers from your great country, and you'll be on the right track..... http://s433.photobucket.com/user/kevinbower1959/media/6d25c633-b062-47f6-bb66-b51e05d27cb9_zps3082cb9d.jpg.html'>

Based on this I'd avoid him. Every deal I've entered with so much back story has turned into a problem, whether it being shipping delays, overstated condition to flat out never shipping the item. His life is in turmoil and you are low on his list of issues to get to. I was thinking the same thing as I read it. Agreed. I would avoid it. Me too, I'd run a mile from that. It reads like the text from a Nigerian email scam. WHY would anyone tell that deeply personal stuff to a total stranger?

That's great!!

I saw a reddish V-shaped guitar and immediately did this......... I then realised exactly what it was and did this........ Only you, buddy - only you. It's REALLY cool.

Beautiful - congrats to you and kudos to Greg for helping it happen. When you get bored with it, just remember who offered you $350 first. This is now committed in writing......

For a quick demo, that all sounds really cool. The greatest thing about ProTools is that it's 100% the professional industry standard, so the more you learn about it, the more time you'll save in getting that inspirational idea down when it hits you - and if you ever get the time or inclination to record in a 'proper' studio, the chances are that's what they'll be using. The vast range of plugins available for pocket-money prices also saves you a heck of a lot of dough in fancy outboards and similar. Have fun with it, it's a purchase you'll never regret.

Thanks for noticing, Rich And as I've said before within these hallowed columns - I'm only on that list because I asked Frank H if he'd put me on there - which he did. I did it because I love these guitars and I'm proud to be seen wearing one - which I bought and paid for with my own hard-earned. But I agree with everyone who says this has been a matter of 'when' - not 'if'. To me, it also ties in quite significantly with the 'guitar mogul' thread as follows...... I hold myself personally responsible for generating sales of at least 20 Standards - bought exclusively by young fans who have contacted me, and asked me about the cool black guitar they've seen me play. They've saved their money and bought one off ebay or wherever, and at least half of them have sent me pictures of their guitars, fitted out with the same chrome pickup rings as mine etc. etc. etc. And you know what - they've all bought XT's. They bought them because their budget is $300, not $5000. Some of these kids have had their woodworking Dads rout for a licensed Floyd - and at least two of them have also taken a belt sander to the underside of the oversized XT headstock to make it look more like a 'proper' Standard. One kid spent three whole days with masking tape and paint, putting fake binding all the way up the fretboard edges and around the headstock......... And this kinda stuff tells me that if 20 kids are prepared to do this because of me (a relative nobody) - then the Jacksons, ESP's and Deans of this world, blowing outrageous sums of money giving away free guitars to anyone even remotely famous - have got it totally right. It's money well spent, because these low-cost import versions of Guitar X are aspirational products at a totally affordable price. I did it myself. My first 'proper' guitar was a doublecut cherry red Les Paul Special. I bought it because Pat Travers played one and I wanted to be like him. Before that, I had a maple-necked Strat copy because I wanted to be like Robin Trower. I also had a black Flying V because I wanted to be like Michael Schenker. The same holds true in any other industry you can care to mention. Anyone here remember the Honda FS-1E? It was a 50cc moped - but it sold in its zillions because it was the world's first moped which looked like a proper motorcycle. The sad fact is that the damage was done years ago - the lack of foresight and unwillingness to capitalise on the brand's relative success in the '80's has well and truly come home to roost. I just read this back and I realise that I've wandered off on a pointless rant. I guess that's what folks do when they're upset about a situation - but they know there's nothing they can do to change it....

No I am not wrong. Here are the recent articles, in Swedish: They have paid one million. A figure they decided they were comfortable with, not nearly the amount they are bound to pay: http://www.sydsvensk...-i-stim-pengar/ Here is their open letter to Stim form last week, full of wrong accusations and plain fact errors: http://www.aftonblad...icle14874821.ab Here is Stims open reply setting all the facts straight: http://www.musikindu...weden_Rock.html Here is the open letter to Sweden Rock signed by many Swedish musicians and bands - from Dark Funeral among others, I think you gigged with them, they'll tell you the truth about this situation. http://mobil.aftonbl....ab?partner=www And more here: http://www.aftonblad...icle14890658.ab Other info on this problem from last year: http://www.stimblogg...-rock-kvarstar/ Use Google translet to read it in english. It's a festival with great bands. It's just run by greedy people who likes to set their own rules and don't care about laws and regulations regarding copyright issues etc. I know many who has visited this festival for years that will bojcott this year because of this. If they paid you Kevin then I am happy for you. It's just that not everyone gets paid. Disturber, I'm not arguing with you and I totally accept what you say. I read the articles via Google Translate and it's uncomfortable reading. All I can tell you is that we haven't had any problem at all. Interestingly, though - I checked our SR show contracts. There's a clause in there which states openly that SR do not have the admin capability to pay individual performance royalties to 80 bands x (say) 10 songs each = 800 individual payments..... so instead, they calculate a ballpark royalty (almost 100% accurate in our case) and add it to the artist's fee. To be honest - this is a far better way of doing it, because as I said in my first post, we usually don't get paid for anything up to a year after we play a show. I also wonder if this apparent 'war' between SR and STIM has anything to do with SR's preferred method of royalty distribution - i.e. are STIM just pissed off because they are being bypassed? I don't know. I can tell how passionate you are about this and I absolutely take your point. I just can't comment any further though - because with HELL, they have been whiter than white. Best wishes

I'm sorry my friend, but you're plain wrong about most of this - and my honest advice would be to re-think your post. As the band's principal songwriter, I can assure you that the performance royalty payments you refer to have already been happily paid by the organisers EIGHT WEEKS in advance of our show - this is unprecedented for a festival, and is in total contrast to the 6-12 months we normally have to wait after a show is played. STIM have nothing to do with this. The collections have been paid without question and have been handled via GEMA in Germany (that's where our record label is based) via their hookup with the PRS in the UK. I don't see this as being the actions of 'gangsters' and 'thieves'. Maybe the issue is one between SR and STIM? - because it certainly isn't an issue for any of the non-Swedish bands who are playing. We also played the Sweden Rock Cruise (Stockholm-Turku) earlier this year and had no issues whatsoever - on the contrary, it was one of the most professionally-run and best-organised shows we've had the pleasure of playing. I'd also mention that 'Human Remains' was Sweden Rock Magazine's 2011 Album Of The Year - and having spent the last year dealing and becoming good friends with the senior editor and a number of Sweden Rock employees, I honestly have no clue what your post is based on. Just sayin' Best wishes

Sweden Rock, next weekend. You guys should all charter a 747 and come over for this; MOTLEY CRUE TWISTED SISTER MOTORHEAD NIGHT RANGER MICHAEL SCHENKER LYNYRD SKYNYRD BAD COMPANY KING DIAMOND BLUE OYSTER CULT MASTODON THE DARKNESS STEEL PANTHER EXODUS DIMMU BORGIR SEPULTURA PENTAGRAM oh....and HELL There are many, many others (80 bands in total), but you get the picture....

I guess "Barney Sparkle" doesn't cut it then? That name's totally permissible for a guitar as awesome as that Anything with a reverse headstock can just make up its own rules........Killer !!!

My top 10; 1 Black guitars always sound more metal than any other colour. 2 Ebony fingerboards sound more metal than rosewood or maple because they're blacker. 3 A zebra, covered, or cream pup in the bridge position will ruin your metal rhythm tone. It has to be black. 4 The only reason Hamer Standards have white or M.O.P. logos/fret markers is that if they used black inlay, you wouldn't see it against the black headstock. Or the ebony board. 5 Cream or white binding - plus chrome hardware - is reluctantly permissible - but only because the contrast makes your black guitar look way blacker. 6 The flightcase has to be black as well. Any non-blackness will seep into your axe during transit and make it less metal. 7 So does the strap. 8 And your picks. Hard playing with a .88mm Tortex will deposit an extra layer of black dust between your neck and bridge pups, increasing the fullness of the tone and reducing dangerous non-metal resonances. 9 If you insist of giving your axe a name, make sure it's 'Blackie', 'Dark Lord' or something similar. Anything less will cause the guitar to worry that it isn't metal enough. 10 Any questions - see point 1.

+1 I thought I was visiting a porn site - I understand that those sites do exist. A buddy told me. Honest.

Damn, what's that? I've seen a black transparent Standard Custom trade on ebay two or three years ago that was setup up with gold hardware. It looked tremendously nice. Mini humbuckers are a great spot too. How do you switch them? That looks like one of the run of Standards Wilcutts had commissioned - so if it is, those pups aren't minis, they're Lollar Firebird pups unless I'm mistaken. The trans black top is killer.

Very nice indeed, sir !! It always puts a smile on my face to hear a player using tasteful slow vibrato. Match that to a strong song (sung by a guy who can actually sing) and a nice cracky snare sound = that's a good combo. The whole vibe of it reminded me of 'This Kiss' by Faith Hill. Keep up the good work.