Last month, Rocky III, and it’s mega-hit theme song “Eye of the Tiger” by the band Survivor, both turned 38 years old. Originally released in late May of 1982, they’ve each endured the test of time in their own respective rights, with the latter remaining one of the biggest arena anthems and classic radio staples of all time to this day. Recently, I was able to speak with Survivor guitarist Frankie Sullivan (who was taking a stroll around his neighborhood at the time) via phone about just what the song’s legacy means to him, as well as what’s in store for the band in the near future.
Sullivan co-wrote said track “Eye of the Tiger” along with former Survivor member Jim Peterik (the duo co-penned the majority of the band’s material together), and is literally the lone ‘survivor’ of the band’s original lineup. One of the first things I asked Sullivan was whether or not he felt the song would go down as the one he’s most remembered for. He says; “Well, I don’t really think any one song can define character. It defines a moment in somebody’s life, maybe, but not the person themselves. But some really great relationships came out of that whole thing, though.”
I wanted to know if Sullivan still felt the same he did when performing live not only songs like “Tiger…,” but many of the band’s other classics such as “The Search is Over” or “I Can’t Hold Back” as he once did when those songs were all still brand new. He tells me; “The first couple notes, that’s when the magic happens, and you can really see it in people! It’s all awesome!”
I also asked what Sullivan’s been keeping himself busy doing with all of his recent down time, and he tells me,”Interviews! I don’t normally do a lot of them, but I said ‘I’m gonna do this,’ and it turned out to be a lot of great fun. Usually we’d be out on the road working right now, but I think people are paying more attention to what’s going on in the country right now than what bands are doing.”
With the passing of former lead singer Jimi Jamison in 2014, and, more recently former bassist Stephan Ellis in 2019, I asked what he wanted people to remember them for; “I think they remember exactly what they saw of them. Sometimes it was energy, sometimes presence. I think the world already knows that. If they don’t, then they’re not thinking about them enough, anyway. That’s why I don’t always comment much on the guys who have passed.”
I was also curious if Frankie kept in touch with any other former members, such as original lead singer Dave Bickler, and former drummer Marc Droubay. He tells me; “Well, I don’t keep in touch with Dave, but that’s not unusual. We’ve never really kept in touch from day one. I’ve known Marc since around ’75 though, and he’s a great drummer, man. Marc always followed the guitar riffs and ignored the bass, but that’s a whole other thing. It was kind of like how Jimmy Page felt about John Bonham.” And as far as having his own son (current Survivor drummer Ryan Sullivan) in the band with him now, Frankie says, “As long as he’s a good drummer, it’s great! He was Marc’s tech before he was in the band, too, so he always called him Uncle Marc.”
And when asked if Survivor has any plans for new music in the works, Sullivan simply states; “If it happens, it happens. but Survivor has such a rich catalogue of original material and stuff people haven’t even heard yet. We have demos from sessions that I don’t think some of the guys who have been in the band have ever even heard. But at this time with what’s going on in the world and country right now, I haven’t even considered going and recording new music.”
Sullivan left with this sentiment; “I was young when I started, and was recording during the best years of music history; analog tape recording. After that it was all digital, and before that it wasn’t ready for prime time. These days kids can make records in their bedrooms, and God bless them for it. But I came from a different school, and like the stuff that came before all that. I lived through the greatest years in recording history…and it’s still the best!”
It’s not a far stretch of the imagination to say that nearly every major band across the globe has felt the effects of 2020 in some way, shape, or form (at the very least financially). But despite the uncertainty of the still-lingering pandemic, bands like ’80s rockers Kix have been waiting on the sidelines to rock audiences again, and – as long as given the green light – are preparing to do just that sooner that you might think. I recently spoke with Kix guitarist and co-founder Brian “Damage” Forsythe from his home in Nashville, TN about what the band has been doing to keep themselves busy, and when we might just see them take the stage again.
While Kix does currently have some upcoming shows listed on their site, I asked Brian how concrete they were, to which he says; “It’s definitely weird. We haven’t played since mid-March, so this is pretty much the longest we’ve gone between gigs I think. And the scary thing is, we don’t even know when our next gig is going to be for sure. There’s still some shows on our calendar right now, but we’ve had so many of them already pushed ahead or postponed completely until next year, so we never really know what’s up…we’re just trying to hang in there though!”
Being one of the very few notable bands to emerge out of the state of Maryland during the ’80s hair metal scene, I asked if any particular moments in the band’s hometown stuck out for Brian; “I remember in ’89 when we were doing our first real big, full-length tour with Ratt. We were usually the openers on that tour, then Britny Fox were after us, and then Ratt were the headliners. But when we got to our hometown gig, we flipped it so that Britny Fox went on first that night, and we went on second, which meant we were able to have a longer set. And I just remember the crowd went crazy when we went out there, I never heard anything like that before! People were holding up their lighters and singing along to every single lyric, and to make it even more special, my parents were there that night!”
I was also curious what made him decide to relocate to Nashville, and if any other members of Kix still resided in Maryland. He informs me; “Most of the guys still live in that area of either Maryland or Virginia, and are pretty much within a 25 mile radius of each other. I’m the only lone wolf living here in Nashville now, and I just moved here about a year ago after being out in L.A. for about 25 years.”
Forsythe was also recently featured in our pal/long time supporter Kenny Wilkerson’s cookbook, Rockin’ Recipes For Autism, so naturally I had to ask him about his selection for the book. Brian says, “I’m a big foodie guy and love to cook. The funny thing is, that recipe (a beet medley over wild rice) is actually a couple years old, and since then I’ve stopped eating it (laughs). I mean, don’t get me wrong, it’s still a good recipe, but since then I’ve sort of changed my diet around, and there’s stuff in it that I don’t eat anymore, so it’s kinda funny how that worked out!”
Kix will perhaps always be best remembered for their 1988 hit power ballad “Don’t Close Your Eyes,” so I wanted to get a little into the song’s backstory, as well as how it is to still perform the cut today. He explains; “The way Kix worked back then was, we’d work on new stuff at our rehearsal space in between tours, and we’d pretty much have it completed before we got into the actual studio to record it. As far as playing it live goes…sometimes people will complain about having to do the same songs every night, but the way I look at it is kind of like someone in a play might, so I try to put everything I have into playing it every single time. The one difference between playing it now versus in the ’80s though is, back in those days, (former Kix bassist) Donnie would play the keyboards on stage, and I would play a Roland synth bass. I had to use that guitar every night, and I hated it (laughs)! But now when we play it live, we have samples of the keyboards instead of having anyone actually playing them on stage, so now I can just play straight guitar through it, and it’s a lot easier for me.”
Staying on the topic of recording and knowing that it’s been several years now since the last studio release from Kix (2014’s Rock Your Face Off), I had to ask Brian if we might see any new material from the band in the near future. He tells me; “We’ve talked about it, and everybody has their own ideas they’ve been working on here and there, so I’m sure something will come together sooner than later. We have had all these other little things released in the meantime though since Rock…, like the Blow My Fuse live set/DVD.”
Knowing that Brian was also a member of Rhino Bucket for many years, I asked if he still had anything other than Kix that he was currently working on, and says; “Well, I was still playing in Rhino Bucket up until we disbanded a couple years ago, and that was a lot of fun. I get a lot of emails from people asking me to play on tracks here and there too that I’ll sometimes do. I did one recently for a band called Streetlight Circus, and also played solo on a song written by Frank Meyer and produced by Bruce Duff about the pandemic called “Flatten the Curve” that had like 30 some odd musicians on it, many of them from the L.A. scene (including Cherie Curry of The Runaways and Mike Watt of the Minutemen, among many others).”
Before we ended our conversation, I was curious to know if Forsythe might throw his hat in the mix of the numerous rock bios becoming more and more frequently released. Brian states; “I used to be in a relationship with Janiss Garza, who was the senior editor of RIP Magazine back in the ’80s (and eventually co-wrote Lemmy Kilmister’s book, White Line Fever), and I actually ran the idea by her a long time ago, but it just never happened. It would’ve been fun to do with her, but I guess it’s never too late to do it in general. The good thing is though, I actually saved all of my calendars that I have notes written on going back to the ’80s, so it shouldn’t be too hard!”
There was once a time when punk rock was actually all-inclusive and welcoming to any and all walks of life – a haven of sorts for outcasts living on the fringes of society. Now, it’s nothing more than a beacon for close-minded conformity, casting out anyone who dare goes against what’s considered “right” in their shared, group-think mentalities. It has become a parody in and of itself, denouncing the same “fascism” it so feverishly claims to be against while simultaneously creating it’s own ignorant fraction of it (much like Johnny Rotten warned against so many years ago during it’s first wave).
Case in point; Michale Graves. The former frontman for horror punk legends the Misfits (and son of a retired police officer), has never been shy to admit his conservative views. Yet with cancel (or perhaps more appropriately, “cancer”) culture hell-bent on shutting down anyone and everyone refusing to adhere to it’s ridiculous belief system, Graves has been ridiculed and ostracized by fans, promoters, and even musicians (including former band mates) and seemingly cast out of his own scene for his involvement with such programs as InfoWars. I was recently able to speak to Graves regarding the fallout he’s been experiencing, and where he’s at right now musically.
Regarding his now-former solo band members, Graves tells me; “My bass player Howie and drummer Adam basically decided they could’t associate themselves with me anymore. And (Former Misfits drummer) Dr. Chud actually reached out to me about re-releasing the (Graves album) Web of Dharma, which we all agreed would be a good thing since it’s such a great record. We were making steps towards making that happen, and then since Chud is apparently this entrenched leftist activist and had seen what I had been saying online lately – which is really nothing different than what I have in the past – he absolutely refuses to talk to any of us now, and told my manager not to reach out to him ever again. I actually reached out to him last year as well before the South American tour and asked him to come play drums because I thought it’d be tremendous for everyone (especially the fans) to see half of that ’90s lineup of the Misfits again, but he basically told me to go take a hike.”
I asked Graves if this shutting down of anyone who doesn’t follow the strict liberal narrative these days was the same across the board everywhere in the music world, and he tells me; “That’s absolutely how it is, yes. The same thing happened to me with Gotham Road. We had European and U.S. dates get cancelled, and no magazines would talk to me, nobody wanted anything to do with me, all because of my outspokenness on certain issues. There was even an instance once years ago when I did an appearance on the show Much Music, and when they got to me, I commented my opinion the way I always do, and was told afterwards that they would live up to their contract as far as payment goes, but wouldn’t allow me to come back on their show again. So it’s nothing new to me, it’s all happened before, it’s just more prevalent now, more ferocious. But the horror punk scene that I’m such a cornerstone in, such a big part of, they hated me way back when, and now they hate me even more. You look out across rock music, and you might be able to name a couple bands with conservative beliefs, but as far as in my world right now…I’m all alone. In the past week, between the band quitting on me and promoters refusing to work with me, it’s really just making my point.”
Of course I had to talk to Michale about his time with the Misfits, and, being someone who was actually on hand to witness when the Graves-era of the band disintegrated on stage at the House of Blues in Orlando (on October 25, 2000), I had to ask if he knew his time would soon be up prior to that show. He tells me; “I knew the end was coming. I just wanted to be in a band and make music with my friends, and those guys didn’t care about me, and they still don’t. I wasn’t very business savoy back then at all. Any advice I was ever given by any of the ‘inside’ people surrounding me at the time – whether it be Jerry, his brother Kenny, or one of the most manipulative people I have ever met, (Misfits manager) John Cafiero – never had my best interest in mind. I knew they were just taking advantage of me, and If I ever brought up that I was unhappy or anything, I was told there was a long line of people that would love to be in my place.”
He goes on; “I always tell this story of when Jerry (Only, Misfits bassist) and I were doing this ‘big’ interview once, and the person asked us where the song content comes from, for example, for “American Psycho.” I’m thinking in my head, ‘I wrote this song. I read the book, I’m tapped into this…here we go.’ And Jerry, just filibusters as he usually does, and ultimately just says that ‘the songs just write themselves once we get going,’ and then on to the next question. Try to find interviews of me from back then, and they’re few and far between because I wasn’t allowed to say anything against the narrative and image that Jerry wanted to put out. And they still don’t know what those songs are even about! (laughs). We were a great band, but we were constantly derailed by the decision making process really of Jerry and Kenny. I’ll give you another example; Rob Zombie wanted to make our first videos off American Psycho. He was just starting to make that charge towards getting into film, and somewhere along the way, everybody decided that John (Cafiero) would be better suited to make our videos than Rob Zombie. It’s just ridiculous.”
When asked if he still spoke with any of his of his other former Misfits bandmates though, he says; “I keep up with (Misfits guitarist) Doyle as best as I can. We communicate back and forth every now and then and check in on each other. Out of everyone, Doyle was like my big brother, and really took me under his wing. But to be honest, I wouldn’t even pursue working with him again right now cause I wouldn’t wanna bring any sort of difficulties to him (laughs). Jerry is a big star now and still treats me like I’m still a 20-year-old kid, so any communication between us has been few and far between. Seeing this as the perfect segue to my next question, I inquired his honest opinions on when Jerry took over the lead vocal position after his departure from the band; “Absolutely horrible. People like Jerry surround themselves with ‘yes men.’ I don’t remember coming across any honest appraisal of the music he tried to make. That Misfits album is just awful.”
Of course I had to ask Michale what his thoughts were when the band re-united with original singer Glen Danzig recently as well. “Well I was really happy for the fans that after all of these years of private and public feuding, Jerry and Glen were able to finally get to that point. As far as the music is concerned, I personally feel like it’s hard to translate songs like “Bullet” and “Halloween” in these big giant spaces. They’re not stadium songs. So I probably would’ve advocated to have those shows performed in more smaller venues, where I think the music would’ve sounded better sonically.”
Before we ended our conversation, I asked Michale to share a more positive memory from his time with the Misfits as well; “I remember just being in the vocal booth and recording – we recorded both American Psycho and Famous Monsters in this old church that was converted into a studio, not far from Woodstock, NY – and seeing everyone’s faces during the takes, how everyone was working together and being so creative. One of my most favorite memories that my mind always goes back to that makes me both very happy, and really sad, was working on “Fiend Without a Fiend.” That song – which I had composed and for the first time played acoustic guitar on – was so out in left field and different from anything else we had done before. It was really exciting at that point, because it had opened up all new doors for us, gave us all confidence both individually and collectively that we could now do songs like that. We knew we had evolved as a band, and soon after, everything fell apart.”
Although he wouldn’t go into too much detail, Michale assures me there is new music in the works. And if you want to catch Graves live, he has some shows lined up towards the end of the summer, which, when asked how concrete they are, he informs me; “Everything that I have up on the website as of right now is still on. There’s a handful of acoustic dates that are still supposed to pick up starting July 31, and some European shows next year. But there’s promoters and things being canceled behind the scenes, so while everything on there is still confirmed as of right now, you never know if it may change.”
This collection of culinary specialties from some of hard rock’s heaviest hitters is cleverly put together by Nova Rex bassist Kenny Wilkerson. I was initially reminded of the more metal-based 2010 cookbook Mosh Potatoes by Steve Seabury; but unlike that said edition, Rockin’ Recipes For Autism is more carefully put together, with impressive, (mostly) full-page glossy photos to go along with most of the musicians found within.
I won’t give away too many of the actual recipes themselves, but some of the rockers involved include Poison’s Rikki Rokket, Dokken’s Don Dokken, and previous Rewind It Magazine interviewees Phil Soussan (of Last in Line and formerly Ozzy Osbourne’s band) and Phil Varone (ex-Skid Row, Saigon Kick). But one of my personal favorites hands down goes to Toto’s Steve Lukather, whose Snickers bar recipe is no doubt something that’s near and dear to my own heart!
Perhaps the only complaint I’d have would be the diversity in recipes (it could have used more dessert/breakfast items s well). But other than that, there’s really not much to complain about here; this book literally delivers everything its title promises, and its net proceeds even go to benefit the foundation We Rock For Autism. As a lover of rock music for the majority of my life, and the uncle to an autistic nephew for eighteen years, there’s really very few cons I can find here. Regardless if ’80s rock is at the top of the food chain for you or not, there’s still surely something for everyone to enjoy on the menu that’s offered up here.
While I must admit I haven’t paid as close attention in recent years to bands like Paradise Lost (although I did briefly revisit them in 2015 to review their new effort at the time, The Plague Within), the band still holds a special place for me. Almost immediately after putting on Obsidian (their sixteenth full-length overall), I was propelled back to listening to such brilliant albums as Draconian Times or Icon while I was still in high school.
“Darker Thoughts” starts off the album hauntingly, and provides appropriate insight for what’s to follow. “The Devil Embraced” and “Hear the Night” are two of the album’s definite strongest tracks, while “Fall From Grace” and “Ghosts” make up the rest of the singles released so far.
With so many mainstream options being constantly produced for the masses on a daily basis, it’s easy to overlook much of the unknown/underground bands out there. But if you can open your mind enough to try something new, you might find actually discover something truly worthwhile.
Former Styx frontman Dennis DeYoung is back with his long-awaited latest solo album, (his first of new material in over a decade). And although the title states “Vol. 1,” it almost feels like a “goodbye” of sorts (hopefully I’m way off on that one, though).
In all honesty, 26 East, Vol. 1 doesn’t start off as strong as it could; album opener “East of Midnight” is more or less just there, while “With All Due Respect” manages to be catchy, yet reaches near cring-worthy levels lyrically in an attempt to be timely. But things quickly turnaround, with tracks like “A Kingdom Ablaze,” “You My Love,” and “Damn That Dream” all invoking the true spirit of DeYoung’s usual m.o. There’s even a brief throwback to Styx classic “The Best of Times” in the form of “A.D. 2020” thrown in for good measure.
But the album reaches its definite peak with “To the Good Old Days,” a bittersweet duet with Julian Lennon that’s as much a tribute to The Beatles as it is a look back on DeYoung’s entire life/career. Whether you’re a die hard fan of his music or not, DeYoung has undoubtedly left a legacy in that’s nothing short of amazing. And if this is to be his swan song, there’s definitely worse ways to go out.
L.A. Guns are a complicated bunch to say the least; for the second time in the band’s history, there are two separate versions of the band currently active (a practice becoming more and more common among groups from their era). Bassist Kelly Nickels was a part of their “classic” era (as well as an early member of another notorious Sunset Strip group, Faster Pussycat), playing on the first four L.A. Guns records and classic tracks like “Never Enough,” “Rip and Tear,” and “The Ballad of Jayne.” After a number of years absent from playing with the group, Nickels recently re-joined the Steve Riley-led version of the band; I recently spoke with him regarding just how that reunion came about, among other things.
Before getting in to band business, I asked Nickels what he was up to during his time away from the band. He tells me; “I’ve done all kinds of stuff! I’ve done a lot of carpentry, I’ve got my own design company where I do a lot of graphics and computer work, and the last few years I’ve been working on a shark cage diving boat off of Long Island. And of course raising kids in there, too, so I’ve stayed busy!”
Nickels then painted a picture of just how things played out getting involved with L.A. Guns again; “Well, Steve (Riley, L.A. Guns drummer) called me and told me what was going on with M3. They asked him to put a version of the band together to play that festival last year, and he basically asked me if I’d be interested in doing it or not, and the timing was good in my life, and it’s felt good to get back out there”
He goes on to explain how this incarnation of the band came to be; “When we first started the project, we had two other people who were into doing it, but dropped out. So we looked at Scott (Griffin, L.A. Guns guitarist), who had played bass in the band before (from 2007-09, and again from 2011-14), but Steve said he was an amazing guitar player too, which I had no idea. But I thought that was a great cause I already knew him a little bit from meeting him throughout the years. And Scott knew Kurt (Frohlich, L.A. Guns singer) and said he’d be a good fit. Kurt sent us a tape and we liked it, so we flew him out from FL to L.A. for a few days of rehearsal, and the chemistry and energy were really good, so we just said ‘let’s go’.”
The band released a new single last month called “Crawl,” and also have a full length album coming out soon titled Renegades. I asked how the songwriting went, and Kelly tells me; “We all chipped in and brought in songs. We basically took the best of what we had in a short amount of time to put it together. We wanted to just keep it a high energy record, which I think it is. A little punk, a little thrash mixed in there. But it’s been a really fun project, and we’re just looking forward to playing it and getting it out there. Just to put a song out into the world is an amazing gift, and we’re looking forward to sharing it with people.”
I also had to ask if Nickels, who is the only member of L.A. Guns to ever sing lead vocals on a song other than a lead singer (on the track “Nothing Better To Do” from 1994’s Vicious Circle album), would be singing lead again on any of the upcoming album’s numbers. He explains; “First of all, “Nothing Better To Do” was an accident (Laughs)! We were in the studio doing it, and everybody went to dinner, and I stayed with the engineer and decided to put just a guide vocal down for Phil (Lewis, L.A. Guns vocalist in the Guns/Lewis version of the band), and when he got back from dinner I played it for him, and he said it was ‘already done.’ I never had any intention of singing lead on a song (and probably never will again!). I was just trying to help him out, but he thought it was good the way it was, so it just kind of ended up the way it is.”
Still, the band revived the track last year during the previously-mentioned M3 Rockfest, alongside a host of classics, including perhaps the band’s most well-remembered hit, “The Ballad of Jayne.” I asked Kelly what it was that made so-called power ballads like it so enduring to fans all these years later, and he says; “I think that a good song is a good song, any way you want to label it. But there were a lot of really good ones that I think were pretty solid, heartfelt songs that a lot of bands put out at the time. Being a hard rock band known mostly for your ballads, it’s a weird thing. But hey, as long as they like you, man (Laughs).”
With the situation being as unique as it is with two versions of the band, I had to ask if there might ever be a chance for the two fractions to ever play together again. Nickels says, “I never want to say never, but I would say it’s pretty unlikely. It’s unfortunate L.A. Guns is the way it is, but it’s a rock n’ roll soap opera (Laughs). But if you like them (the Guns/Lewis version), it’s totally fine with us. We’re not trying to hurt anyone, but this just is the way it is. We just wanna be able to play as musicians, and these are the songs that we wrote, too, that are a big part of who we are, you know? And we’re all getting older, and don’t really wanna start over from scratch at this point in our lives. But like I said, we’re not trying to hurt anybody here, we’re just trying to play some music, too.”
And finally, with the uncertainty of live events still hanging in the balance, I asked Kelly what the future looked like for the band as far as playing live. He informs me; “We have a lot of shows that are being rescheduled for August, September, October, etc. It’s giving us some time to make sure the coast is clear, and if it’s safe to do them, of course we’d love to do them. I know people are ready to go, and a lot of people are ready to bust out their windows (Laughs). Obviously we have to make sure it’s safe for everyone to go before we do them, but we’re hoping for sometime in the fall though, so we’ll see how it goes.”
Admittedly I’m a little late reviewing this one (about three months, give or take), but considering it’s been 10 years since the last time Huey Lewis and The News actually released an album (2010’s covers album Soulsville), and even longer since their last album of original material (you have to go back to 2001 for that), I figured I’d make an exception here.
Weather breezes by rather quickly (it’s a brief seven tracks), but it contains all the usual trademarks found on a Huey Lewis and The News record. “While We’re Young,” “Her Love is Killing Me,” and “Remind Me Why I Love You Again” all echo back to simpler times. And even if there’s not much public demand for new music from these guys in our current, instant gratification/image obsessed society, the tracks here are still worthy of putting alongside anything else in the band’s lengthy catalogue.
While I was still very much just a kid during the band’s peak in the mid-1980’s, I can vividly remember their albums (alongside a host of other popular acts at the time) being present and playing at many of my parent’s neighborhood block parties back then, and of course I knew them (as many other kids my age did at the time as) as the band from Back to the Future. I’ve since grown to appreciate their music (and many others from their era) even more since those days, even going to see the band in concert with my wife back in 2014. There’s just something about the ’80s that remains enduring to this day, and even if Huey Lewis and The News aren’t quite as respected as they once, I’m glad they’re still active in some capacity in 2020.
Testament have honestly never been at the top of the list for me as far as bay area thrash bands from the early ’80s (that also includes the likes of Metallica and Exodus) go, but I still maintain a certain level of respect/appreciation for them. On their thirteenth studio effort, they’ve come one step closer to finally winning me over completely.
Sure, there’s some run-of-the-mill, generic stuff (“WWIII” and “Children of the Next Level” come to mind, although the latter does have a fairly entertaining, animated music video that goes along with it), but there’s still more than enough heavy, epic riffs to pacify the average headbanger. Tracks like “Night of the Witch” and “Dream Deceiver” (my personal favorite) pack enough punch, and should fit nicely in future set lists (whenever that may finally be).
Overall, Titans of Creation isn’t bad listening material for old-schoolers looking to kick back with a few cold ones on a Friday night, but not a whole lot more than that.
For nearly three decades, Timothy DiDuro has been bashing the skins for bands all over the central, FL area and beyond. After a brief gig drumming for Skid Row in early 2004, he went on to play with Slaughter for seven years as their touring drummer before also blasting out Motley Crue hits as a member of Vince Neil’s solo band (much like another ex-Skid Row drummer Rewind It Magazine has interviewed in the past did, DiDuro’s predecessor, Phil Varone).
DiDuro keeps things a little more locally these days, lending his talents to the metal act Rising Up Angry, as well as cover supergroup The Beautiful Bastards, an act that RewindIt Magazine was also on hand to see perform live in DeLand last year (which is also what this article’s photo is from). Timothy has also almost single-handely taken on a new project in the form of JettRacer, a creative outlet that finds him also singing and playing guitar in addition to playing the drums, with Seether bassist Corey Lowery being the only other musician involved in the mix.
I was recently able to speak to Timothy, and one of the first things I wanted to know was about his brand new project with Lowery, which he tells me, “A few years back, I started writing and stockpiling my own material after years of being a ‘hired gun’ drummer. I was working with a guy named Zach Vick at the time, who had a studio and basically able to go there and do some pre-production, as well as write a bunch of material myself. I sat on a lot of the stuff for awhile, but then the whole thing with Corey came about when I decided to reach out to him one day and tell him I had this material that I’d like to work with him on as possibly a producer. He was instantly up for it, so I sent him a couple of tracks, and he happened to pick the track “It’s Not the End” (which you can also check out right now on YouTube) to re-work with me, and it turned out great. I thought the timing to release this single would be perfect, not only because of the state of the world and how we’re living right now, but I thought it might actually be something somewhat inspiring. Brandon Goldthwaite also did such an amazing job producing the video.”
He goes on to elaborate regarding stepping out from behind the drum set to the microphone/songwriter’s seat and says, “It’s not what people normally expect from me musically, but I just kinda wanted to do something on my own, so I just kept pushing myself to do it. There are guys out there who have went from drummers to writers, and I always found that inspiring.” I also asked what was in store for the future of JettRacer, and Timothy tells me, “I haven’t even really thought about a live, physical band yet, but like I said, I have a stockpile of material, and I’m going to absolutely continue writing.”
DiDuro also informs me that once things blow over in these current quarantined conditions that he will definitely be picking back up with his other projects, such as The Beautiful Bastards, saying, “I just enjoy playing with those guys so much, we always have a great time together.” He also says there should be more stuff to look out for in the near future from Rising Up Angry, another local outfit he had previously gotten involved with shortly before the days of social distancing.
And I’m not sure what kind of Skid Row fan I would be if I didn’t ask at least one question regarding how DiDuro did time in one of the biggest bands to ever emerge out of my home state of New Jersey; “I basically got a phone call from a drummer friend of mine, Will Hunt from Evanescence, and he’s the one who pretty much put me in that driver’s seat and basically told the band about me…so kudos to Will (Laughs)! It was super brief to be honest with you, though. I didn’t really have a lot of time to do my homework, and they had a full world tour booked, so I think a lot of that really came down on me. I ended up doing just a couple shows and videos with them, and ironically enough when I ended up being with Slaughter, we ended up doing a lot of co-headlining shows together! So for years and years I was actually able to still hang out and see them play, and they’re still friends of mine to this day.”
You can check out the video for DiDuro’s new track here;