In 1994, BraveWords & Bloody Knuckles magazine was born and here we stand 30 years later celebrating the past 12 months of music on our anniversary! What an incredible ride it has been and it’s far from over! And during the past three decades, we’ve literally seen/heard thousands of releases and this is the time of the season when we crown the finest! The BraveWords scribes have spoken, so join us each day this month as we count down to the BravePick of 2024!
Remember, everybody has an opinion and it’s time for ours! Stay tuned at the end of December for BraveWords’ writers’ individual Top 20s (new studio albums ONLY), Top 5 Brave Embarrassments (a fan favorite!), What/Who Needs To Stop In 2024? and Metal Predictions For 2025.
BravePicks 2024
4) CRYPT SERMON – The Stygian Rose (Dark Descent)
One of the most exciting newer acts is Crypt Sermon – the Philly act caught much attention with 2019’s The Ruins Of Fading Light with their epic doom stylings. The Crypt opened up once again in 2024 with the all-important third album. The Stygian Rose is based on a unique concept inspired by Paschal Beverly Randolf, an early American spiritualist and sex magician.
It’s a topic often explored lyrically, but the meat of the matter is the rich textures and huge sound Crypt Sermon hammers through the speakers, resulting in an awe-inspiring, impressive album from start to finish. They have cemented themselves as one of the best the world has to offer as The Stygian Rose blooms at #4.
Scribe Rich Catino gave the album a golden score of 10; an excerpt of his review:
Yes, Sermon are described as epic doom, and that they are, but the arrangements are colored with charging tempos and riff changes, and these beautiful melodic parts, as in this first song. And the solo section is full of excellent purposeful choices in notes. With only six songs on the album and an average of five plus to seven minutes it takes talent to hold one’s attention. Something Crypt Sermon have no problem achieving.
Second track “Thunder (Perfect Mind)” is like a lost Lefay song, with a deep strong projected voice behind the music even includes some melodic (slow) black metal leads accents. Keys start “Open The Hollow” into a catchy mid pace riff and rhythm, while video track “Heavy Is the Crown Of Bone” chugs along with movement, seamless proggy changes amongst drum and bass patterns. These guys are talented. Spooky keys pose a melancholy tone for “Scrying Orb” where singer Brooks Wilson uses his smoother singer side too. And the title track is eleven minutes of darkness and doom wrapped into the album artwork.
BravePicks 2024Top 30
4) CRYPT SERMON – The Stygian Rose (Dark Descent) 5)KERRY KING – From Hell I Rise (Reigning Phoenix) 6)BORKNAGAR – Fall (Century Media) 7)SEBASTIAN BACH – Child Within The Man (Reigning Phoenix) 8)GRAND MAGUS – Sunraven (Nuclear Blast) 9)IOTUNN – Kinship (Metal Blade) 10)NILE – The Underworld Awaits Us All 11)EVERGREY – Theories Of Emptiness (Napalm) 12)THE CROWN – Crown Of Thorns (Metal Blade) 13)NECROPHOBIC – In The Twilight Grey (Century Media) 14)DJEVEL – Natt Til Ende (Aftermath) 15)INTRANCED – Muerte y Metal (High Roller) 16)KITTIE – Fire (Sumerian) 17)BLACKTOP MOJO – Pollen (Cuhmon Music Group)
18)BLOOD RED THRONE – Nonagon (Soulseller) 19)RIOT V – Mean Streets 20)PORTRAIT – The Host 21)ROTTING CHRIST – Pro Xristou (Season Of Mist) 22)SAXON – Hell, Fire And Damnation (Silver Lining) 23)ULCERATE – Cutting The Throat Of God (Debemur Morti Productions) 24)POWERWOLF – Wake Up The Wicked (Napalm) 25)ENSIFERUM – Winter Storm (Metal Blade) 26)OPETH – The Last Will And Testament (Reigning Phoenix Music) 27)DARK TRANQUILLITY – Endtime Signals (Century Media) 28)MORGUL BLADE – Heavy Metal Wraiths (No Remorse) 29)THE DEAD DAISIES – Light ‘Em Up (Independent) 30)MÖRK GRYNING – Fasornas Tid (Season Of Mist)
In this excerpt from Gibson TV’s Icons below, Jerry Cantrell shares how the early recording sessions for Alice In Chains’ iconic album, Dirt, were interrupted by the eruption of riots following the Rodney King verdict. Watch as he recounts the band facing a city in chaos, and how he and his bandmates made a harrowing escape through the streets of LA, navigating fires, looting, and unrest before retreating to Joshua Tree to continue writing and recording the album which solidified them as one of the most iconic bands of the grunge era and beyond.
Jerry reflects on how these tumultuous events marked the beginning of Dirt, blending the album’s intense, raw energy with moments of what he said was real beauty. He describes the unique mix of heavy, ugly sounds with a softer, more melodic side that became the hallmark of Alice in Chains.
Cantrell’s new solo album, I Want Blood, co-produced by Cantrell and Joe Barresi (Tool, Queens of the Stone Age, Melvins), was recorded at Barresi’s JHOC Studio in Pasadena, Calif. The album also features contributions from bass heavyweights Duff McKagan (Guns N’Roses) and Robert Trujillo (Metallica), drummers Gil Sharone (Team Sleep, Stolen Babies) and Mike Bordin (Faith No More), and backing vocals from Lola Colette and Greg Puciato (Better Lovers, ex-Dillinger Escape Plan).
Album orders, which include CD, digital and multiple 2LP variants are available here.
I Want Blood tracklisting:
“Vilified” “Off The Rails” “Afterglow” “I Want Blood” “Echoes Of Laughter” “Throw Me A Line” “Let It Lie” “Held Your Tongue” “It Comes”
“Vilified” visualizer:
“Off The Rails” visualizer:
“Afterglow” video:
“I Want Blood” visualizer:
As mentioned above, Cantrell has announced a North American tour in support of I Want Blood. The trek kicks off on January 31 in Niagara Falls and makes its way across the country, concluding in Cantrell’s home state of Washington. For ticket information, visit jerrycantrell.com/tour. Filter supports on all dates.
North American tour dates:
January 31 – Niagara Falls, ON – Fallsview Casino Resort
February 1 – Sayreville, NJ – Starland Ballroom 2 – Portland, ME – Aura 4 – Boston, MA – Citizens House of Blues Boston 5 – New York, NY – Irving Plaza 7 – Silver Spring, MD – The Fillmore – Silver Spring 8 – Bensalem, PA – Parx Xcite Center 11 – Huntington, NY – The Paramount 12 – Norfolk, VA – The NorVa 14 – Raleigh, NC – The Ritz 15 – Atlanta, GA – Buckhead Theatre 16 – Louisville, KY – Mercury Ballroom 18 – Columbus, OH – The Bluestone 19 – Indianapolis, IN – Murat Egyptian Room at Old National Centre 22 – St. Louis, MO – The Hawthorn 23 – Chicago, IL – The Vic Theatre 25 – Tulsa, OK – Tulsa Theater 26 – Houston, TX – House of Blues Houston 27 – San Antonio, TX – The Aztec Theatre
March 1 – Mesa, AZ – The Nile Theater 2 – Las Vegas, NV – House of Blues Las Vegas 4 – Los Angeles, CA – The Belasco 5 – Ventura, CA – The Majestic Ventura Theater 7 – Spokane, WA – Knitting Factory – Spokane 8 – Portland, OR – Wonder Ballroom 9 – Seattle, WA – Moore Theatre
Jerry Cantrell is an iconic American troubadour, celebrated for his distinctive guitar playing, soulful vocals and profound songwriting. Known for his work in both Alice In Chains and as a solo artist, the Grammy-nominated musician has sold in excess of 30 million albums, has been named one of the greatest guitar players of all time by both Guitar World and Rolling Stone, and has been instrumental in shaping the sound of modern rock music. Over his career, he has released six studio albums with Alice In Chains, three solo full-lengths, has had his music featured in films from Cameron Crowe, Judd Apatow and Ben Stiller and made cameos in “Deadwood” and “Jerry Maguire.”
Speaking on the podcast The Town With Matthew Belloni, producer Peter Jaysen – whose company, Veritas Entertainment, was involved in securing the rights to Dylan’s musical archive and life story for the film – revealed that both Barrett and late The Mamas & The Papas singer Cass Elliot are in line for the big screen treatment.
“Due to our involvement with Bob doing A Complete Unknown, we’ve been fortunate enough that right now we’re working on, with Wash Westmoreland, the great writer-director, a Syd Barrett movie, one of the founders of Pink Floyd.
Jaysen added: “We have had multiple Zooms with the estate of Mama Cass Elliot and met with her daughter, Owen, and are close to acquiring the rights to her book, My Mama Cass.”
While he didn’t give specific details or release dates for either project, both Barrett and Elliott would be ripe for the biopic treatment. Barrett founded Pink Floyd 1965, before drug and mental health issues forced him to leave the band and eventually live out of the spotlight in Cambridge until his death in 2006. Elliot, aka Mama Cass, rose to fame as one quarter of The Mamas & The Papas, but died in 1974 at the age of 32.
A Complete Unknown opened in the US on Christmas Day to positive reviews, with star Timothée Chalamet reportedly in contention for an Oscar for his portrayal of Dylan. Chalamet apparently spent five years training himself to sing like Dylan for the movie.
The real Dylan has given the movie his blessing, posting on X: “There’s a movie about me opening soon called A Complete Unknown (what a title!). Timothee Chalamet is starring in the lead role. Timmy’s a brilliant actor so I’m sure he’s going to be completely believable as me. Or a younger me. Or some other me. The film’s taken from Elijah Wald’s Dylan Goes Electric – a book that came out in 2015. It’s a fantastic retelling of events from the early ‘60s that led up to the fiasco at Newport. After you’ve seen the movie read the book.”
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A Complete Unknown is just one of several music biopics to arrive in the next couple of years, including Bruce Springsteen movie Deliver Me, which stars The Bear’s Jeremy Allen White as Springsteen and focuses on the making of his 1982 album Nebraska, and Sam Mendes’ untitled four-part biopic of The Beatles, with a separate movie dedicated to each member.
A Complete Unknown is in US cinemas now. It opens in the UK on January 17.
A COMPLETE UNKNOWN | Final Trailer | Searchlight Pictures – YouTube
UK prog legends Gentle Giant have announced that they will release a reimagined, remastered and remixed version. of their 1977 live album Playing The Fool in the Spring. You can watch a video trailer for the new release below.
Playing The Fool: The Complete Live Experience will feature the band’s entire concert set from the time and features three additional tracks, Interview, Timing and Ray Shulman’s Violin Feature. The new release, which has been mixed and produced by Dan Bornemark, will also be available in Stereo (96/24), 5.1 Surround Sound and Dolby Atmos.
“This definitive release delivers the ultimate Gentle Giant live performance as it was originally intended,” the band say. “Complete with restored in-between-song commentary, band introductions, and the authentic ambience of each venue. It also includes the full original setlist and three unreleased tracks.
“The Complete Live Experience brings a fresh level of clarity and depth to Gentle Giant’s live recordings, capturing the full scope of the band’s artistry as they were meant to be heard.”
Playing The Fool: The Complete Live Experience will be available on vinyl, CD, Blu-ray and digital. The band haven’t released pe-order information yet.
Gentle Giant “Playing the Fool: The Complete Live Experience” COMING SPRING 2025! – YouTube
Slash feat. Myles Kennedy and the Conspirators are working on their next album.
Vocalist Kennedy, who also fronts hard rockers Alter Bridge, has told Trunk Nation With Eddie Trunk that he and the Guns ’N’ Roses guitarist are demoing the followup to 2022 album 4.
The frontman says all but one song on the project’s fifth record – set to also feature rhythm guitarist Frank Sidoris, drummer Brent Fitz and bassist/vocalist Todd Kerns – has been written and promises some “exciting stuff”.
“[Slash] was sending me demos of the tunes,” Kennedy says (via Blabbermouth). “Then I was spending time with him, coming up with melodies and lyrics. And so that’s all done – I think with the exception of one song. Now I just have to find a moment to get in the studio and all that, knock that out.”
He continues: “But I will say that just even in the demo process and where we stood there before they went in to actually make the record musically, it is really exciting stuff. I’m really, really stoked about where this one’s going. It’s gonna be cool.”
Slash, 59, is currently in one of the busiest eras of his career. The guitarist released his blues album Orgy Of The Damned this year, with such iconic musicians as ZZ Top’s Billy Gibbons, AC/DC’s Brian Johnson and pop/rock figurehead Demi Lovato appearing. He toured with both the Conspirators and all-star band S.E.R.P.E.N.T. in 2024, and he’s also set to trot around the globe next summer, a GNR Europe/Middle East tour having been announced for May to July.
As if all that weren’t enough, there have also been rumours about new GNR music. The hard rock titans haven’t released a record since Chinese Democracy in 2008, but bassist Duff Mckagan recently told Trunk Nation, “There’s definitely a desire and a plan for new music.”
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Meanwhile, Kennedy remains active not just with Alter Bridge, but a solo career of his own. His third album under his own name, The Art Of Letting Go, dropped in October and the singer/guitarist recently completed a European tour promoting the release.
“If it wasn’t working, I could see the point of changing. But we were more successful than ever. It was incomprehensible”: The tumultuous story of Sepultura’s Roots album and their bitter split
(Image credit: Niels van Iperen/Getty Images)
Sepultura’s 1996 album Roots was one of the most pivotal albums of that decade, priming the band for even bigger success – but instead it prompted the departure of frontman Max Cavalera and the end of the band’s classic line-up. In 2018, all four members looked back on how Brazil’s greatest band snatched defeat from the jaws of victory,
Sepultura were one of the greatest and most unexpected success stories of the mid-90s. Four kids from the cultural backwater of Belo Horizonte, Brazil, they journeyed from sub-underground death metal no-hopers into global ambassadors for their home country, and for metal as a whole.
The band’s still-explosive 1989 album Beneath The Remains served notice of their impending genius, but it was their fifth full-length record, 1993’s Chaos AD, that found Sepultura jumping several gears, pushing them far beyond their contemporaries. Its groundbreaking mix of jagged noise and South American influences sounded like nothing that came before it, while frontman Max Cavalera raged against corruption and stupidity with the conviction of a man who had nothing left to lose.
The album connected instantly, smashing into the UK Top 20 and the US Top 40 like a Molotov cocktail. Successful tours with the likes of Pantera and Ministry followed.
“During the making of Chaos AD, we were very focused, very organised, very connected,” says guitarist Andreas Kisser. “We were together, it was a very special moment in Sepultura’s career.”
But there were downsides. The pressures of success, and the responsibilities of being flagbearers for a new generation of metal bands soon began to have an effect on the ‘classic Seps’ line-up of Max, Andreas, bassist Paulo ‘Jr’ Pinto and drummer, Max’s brother Iggor Cavalera.
“All of a sudden we’re this really big machine and we couldn’t really comprehend it,” says Max. “We didn’t know how to deal with it.”
Sepultura in 1996: (from left) Iggor Cavalera, Andreas Kisser, Paulo Jr, Max Cavalera (Image credit: Mick Hutson/Redferns)
On October 1995, Sepultura entered Indigo Ranch Studio in Malibu to record the follow-up to Chaos AD with rising nu metal producer Ross Robinson. The album built on the indigenous Brazilian influences of its predecessor, simultaneously taking them further away from their death metal past towards an incendiary, groove-driven battery.
Max: “There was no pressure on the music side. We’d proved that we could take this thing in any direction we wanted, and it was great.”
(Image credit: Future)
Iggor: “It was very early where Max came up with the Roots song, and from then on we were building, thinking about what would be the ‘roots’ of our music. We did a lot of crazy experimenting.”
Andreas: “Ross Robinson had a whole new perspective. He came and showed a lot of new possibilities for us. He really brought that idea of the ‘Brazilianness’: the jams, the free approach to everything.”
Iggor: “He was pushing a lot of crazy ideas. I remember coming back from the studio with a tape we’d done there, and I didn’t know what we were going to do with it, ’cos there was so much going on – a thousand guitars on a take with noises and percussion, that kind of thing. I was a bit confused.”
Max: “The greatest thing was having the combination of Ross and [engineer] Andy Wallace. Ross recorded it on his own and it sounded like total dogshit – not for human consumption. We’d send it to Andy. It would be like sending him a diamond covered in shit, and he had to clean all the shit from it to make the diamond shine, which is what he did.”
Paulo: “When Andy came into the mix, he knew how to make that really noisy, grungy mass sound good.”
Andreas: “It came out very positive. I think that was a merit of the band – to funnel the stuff that was going on in our lives into our music.”
Released in early 1996, Roots built on the success of its predecessor on both sides of the Atlantic. But imperceptible fault lines were opening up within the band. On one side was Max and his wife, the band’s manager Gloria. On the other were Andreas, Paulo and Iggor.
Andreas: “Things had started to go kind of weird before that. When [Max and Gloria’s son] Zyon was born, instead of putting a band on the cover of a magazine, they had Max with his kid. That’s nothing to do with the band. To have a kid is not that special. I have three myself. I love them, but I don’t use them as a trophy.”
Paulo: “I guess things weren’t right when we started to tour Roots. We saw things were not being represented the way the three of us would like. The other party was taking credit for everything and not really giving the rest of the band the credit for what we worked for.”
Andreas: “Concepts of what Sepultura should be were changing. Max was already being detached from the unity that we had. It was a lead singer with his support band type of vibe. And Gloria was doing a horrible job – she was not trying to keep anything together.”
Iggor: “There was a lot of stupid stuff. Just a lot of drama over nothing. You get to the point where you travel so much, little things can be super- dramatic. It’s like Spinal Tap – people would freak out over not having the sandwich we wanted.”
Max: “We started seeing all these shady guys in the dressing room, managers meeting with the other three guys, trying to steal the band from Gloria’s management.”
Andreas: “Sepultura only works if we are a band, if we can talk to each other and respect each other. We were at a point where we were just going onstage to play, and that’s how they wanted to keep going.”
Sepultura’s Max Cavalera live in 1996 (Image credit: Paul Bergen/Redferns)
On August 1996, Sepultura arrived in the UK to play the Monsters Of Rock festival at Castle Donington, opening for Kiss and Ozzy. They were greeted by the tragic news that Gloria’s son, Dana Wells, had been killed in a car accident at home in Phoenix.
Andreas: “We just arrived in England to play Castle Donington, and we got the news. I was the one to bring the news to Gloria. I took her away from her room and told her.”
Max: “The minute we arrived, there was a knock on the door and it was Andreas – he had this pale, ghostly expression that I’d never seen before, and I knew that something was incredibly wrong. He told Gloria, ‘Your son died.’ From that moment on, the whole day just spiralled out of control. Sharon and Ozzy Osbourne really helped us a lot, they’re the ones that helped us get back home. Without them, we couldn’t have got home so quick.”
Andreas: “We had a big show, in our heads probably one of the biggest shows in Sepultura’s career, and we decided to go ahead and do the show as a trio. I’m glad we did. There were mixed emotions. A profound sadness for a huge loss, but at the same time playing at Castle Donington. It was very weird. I don’t think I’ll ever experience anything like that again.”
Max: “I spent the night before the funeral with Jason Newsted, making a cassette tape with Dana’s favourite songs. We put a cassette player on his coffin and we let it play until the batteries ran out. During the funeral there was a jam session between Andreas and Jason, playing acoustic guitar – they made that for Dana. It was beautiful, really touching.”
Andreas: “But from that point, the whole emotional instability just got bigger. Especially from Gloria’s family.”
Rather than bring the two warring factions together, Dana’s death only drove them further apart. The tensions that had been simmering came to the boil post-Donington. Andreas, Paulo and Iggor decided that they no longer wanted Gloria to manage Sepultura.
Andreas: “We had the contract. We had a legal tool on our side, where we could exercise an option not to continue with Gloria because we wanted to change the way Sepultura’s business was done. And they didn’t want to hear it.”
Max: “The other three guys, they just stopped talking to Gloria completely, which was really cold. Who does that? I had my own brother doing that, which was really hard to understand.”
Paulo: “We tried to talk to Max but it was hard.”
Max: “You don’t just change people for no reason. If it wasn’t working, I could see the point of changing: ‘Yeah, let’s change, we gotta do something.’ But that wasn’t the case at all. We were more successful than ever. It was incomprehensible.”
Andreas: “We had a big fight with Gloria in Buenos Aires [on November 14, 1996]. That’s where Sepultura ended. But we decided to go to Europe to do the tour, to try and make Sepultura possible for another year. It was crazy.”
Sepultura’s European tour began in Belgium on November 20, 1996, and ended just under a month later at London’s Brixton Academy on December 16 – the day their contract with Gloria Cavalera ended. Immediately after that final show, all the issues that had been brewing finally came to a head. Interestingly, the former bandmates have very different views on how the show itself went.
Max: “The show was fantastic, super-energetic, high energy – we were playing really good.”
Andreas: “I know it was great and everything, but it could have been much better if we were a band.”
Paulo: “It was a very shitty show.”
Iggor: “At the end of the show, it was, like, ‘It cannot continue like this.’ That’s when we took the decision we did.”
Andreas: “We terminated our deal with our manager there, and [Max and Gloria] decided to leave Sepultura.
Max: “I don’t think it was in the dressing room. It was more on the bus ride going to the airport. I probably had a little bit to drink, so I was on the edge. I told them, ‘If that was how it was going to be, fuck you all, I’m out of here.’”
Iggor: “I don’t know if anyone tried to talk Max out of leaving. It was a lot of turbulent times.”
Andreas: “Of course we tried to talk Max out of leaving.”
Max: “Gloria tried to talk me out of it. She told me go with them. I couldn’t. I just couldn’t. I’m not that kind of person. I cannot fuck people over like that. That’s how great of a person she is – just go with them, stay with them. I’m, like, ‘I’m not doing that to you. It’s absurd.’ They had a meeting to try to get me back.”
Andreas: “It’s really hard when you do a meeting with Max and Iggor. You can spend two hours talking, some explanation of stuff, and somehow they leave there and nothing happens. It’s really weird way of doing business.”
As the shock news of the split between Max and his former bandmates broke, both parties retreated to take stock. Inevitably, the shattered relationship turned poisonous, with barbs thrown in the press. Privately, both parties were facing an uncertain future.
Max: “I could have gone, ‘Fuck you all, this is my band.’ I could have if I’d wanted to. It was my band, invented by me, the name and everything. I just felt it was easier to walk away. But it was six months of hell. I lived in my room, just drinking and taking drugs all day long. I didn’t want anything to do with music.”
Andreas: “We were abandoned. We lost everything that took 10 years to build. We had to cancel shows in Australia and Japan – it was really bad. Bad blood with promoters and everything. All the budgets and big money went to Soulfly. Ross Robinson and Andy Wallace went to Max. We had to rebuild everything.”
Paulo: “Nobody gave us the credit we deserved. We had to start from scratch.”
Max: “I didn’t know what they were going to do, honestly. But Andreas is a very ambitious guy. I knew he was probably going to find someone and give it a go. I thought they might even get somebody like Robb Flynn. I was, like, ‘If that happens, I’m fucked.’”
Andreas: “We wanted to change the name, start something totally different. But slowly we put our heads in place and balanced all the options and talked to a lot of people. We were nine months working to find a new manager, a new singer, a new producer – to find a new way to keep Sepultura going.”
Max: “The hardest part was Iggor, because he was my brother. I was, like, ‘How could you do that to me?’ I don’t know, man. It had a bit to do with greed, it had a bit to do with human nature.”
Iggor: ‘It was horrible. Me and Max being so close together for so many years, doing our little thing, it was very hard. But anybody who has brothers knows how it is a completely different thing than dealing with a friend. With a brother, it doesn’t resolve just by talking. It needs something extreme to happen so you both understand what was going on.”
Sepultura’s Max and Iggor Cavalera in 1996 (Image credit: Niels van Iperen/Getty Images)
In the race to release an album, Max’s new project, Soulfly, were first out of the gate. Their self-titled debut emerged in April 1998, produced by Ross Robinson and featuring members of Fear Factory, Deftones, Limp Bizkit and Dub War. The reconstituted Sepultura, now fronted by American singer Derrick Greene, followed six months later with Against. Both albums were accompanied by potshots directed at the other camp in the press – a pattern that would be repeated over the next few years. But further upheaval struck Sepultura in 2006 when Iggor jumped ship to reunite with his brother.
Iggor: “The decision to leave Sepultura wasn’t hard. It was harder to continue without my brother. We’d just had a son, and my wife was really sad: ‘Your brother has never seen our son, that’s not right.’ And I was, like, ‘She’s right.’ So I reached out and talked to him. That was the first step.”
Max: “He came back and apologised. He told Gloria he was wrong, which is great. To admit that he was wrong on that whole thing, it was really cool of him to do that.”
Iggor: “I flew to Phoenix to hang out with Max. We were influenced a lot by the whole thing with Pantera, the Dimebag thing – like, ‘Look, these guys cannot do what we’re doing right now.’ We know how life, it’s super-short. So I was, like, ‘Fuck it, I just want to hang out with my brother.’”
Sepultura’s Andreas Kisser and Paulo Jr in 1996 (Image credit: Niels van Iperen/Getty Images)
As both sides warily circled each other with teeth bared, there seemed little chance of a reunion of the classic Sepultura line-up, despite huge offers dangled in front of them by promoters. Then, in late 2010, rumours circulated that the band were planning to reunite. Sepultura released a video statement refuting the rumours.
Max: “I was trying for it. I thought it’d be very cool. Especially after I saw Faith No More get back together. It’s like, ‘Why can’t we do the same?’ I actually talked to Andreas on the phone about it, like, ‘Come on man, let’s do this. Let’s fucking do it. The whole world wants it. It would be a great thing.’ And he agreed with me, then a couple of weeks later it was all back to shit again. So I was, like, ‘Fuck it, I’m not going to try any more.’”
Andreas: “There’s been many reunion conversations, especially with Gloria. It’s always them approaching us.”
Iggor: “I think there was some talk. But I never sit down with those guys to discuss anything, so I don’t know how serious those things were.”
Andreas: “We both played at a festival in Germany [in 2009], Sepultura and Soulfly, for the first time. Our bus was parked here and their bus was parked a few metres away. I went out there, Gloria was there. I give her a hug: ‘Hey, what’s up, how’s it going?’ And since then, she was like, ‘OK, maybe we could put all this bad stuff back and we could try again.’ It didn’t go further, because it’s something that’s completely out of reality. It’s not a part of what we are. That Sepultura they have in mind, it’s not us.”
Max: “It was Gloria’s idea for me and Iggor to tour the Roots album (2017’s Roots Reunited tour). I think a lot of fans just wanted to hear the original voice and original drumming. They didn’t care that Paolo and Andreas weren’t in the picture, which was proven by the success of the tour. It sold out everywhere. It was a great tour.”
Andreas: “It’s sad to be dragging up the past. That’s why we don’t spend our time doing tribute tours and shit. We’re very much focused on what we’re doing now, today. We put our energy and efforts into creating a new Sepultura every day.”
Today, the gulf between Sepultura and the Cavalera brothers is as wide as ever. Both camps continue to release albums to varying degrees of acclaim, though with only a fraction of the commercial success they enjoyed with Chaos AD and Roots. When it comes to what could’ve been, all members remain philosophical on the subject.
Iggor: “I have no idea how things would be if we’d gotten through the problems.”
Max: “I think we would have been extremely big if we had stayed together. Not as popular as Metallica, but popular. But then Soulfly came about, so it was a blessing in disguise. I last spoke to Andreas six years ago, and I’ve not spoken to Paolo once. Never.”
Andreas: “Do I miss being in a band with Max? No. Not at all. I don’t know him today. I don’t know the person he is.”
Max: “There were some good times, it wasn’t all bad. We actually had a lot of fun. The friendships were cool, you know? I miss that sense of, ‘We can do it, we can conquer the world.’”
Andreas: “There’s no regret at all. I don’t see why we should be regretful when we are in a better place now.”
Max: “Maybe we should have took a year off and come back better than ever. Maybe we would have found a solution for the whole Gloria thing, the whole management thing. At that time, we were not thinking about that. Hot heads prevailed. Would I have done anything differently? I don’t know. I think it was meant to be.”
Originally published in Metal Hammer 307, March 2018
Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock, Associate Editor on Q magazine and staff writer/tea boy on Raw, not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo, the Evening Standard and the totally legendary Ultrakill. He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.
John Mellencamp’s John Cougar album, released in 1979 under his then-stage name, represents a significant step forward in his evolution as a songwriter and performer. This self-titled album marked Mellencamp’s first major release in the United States through Riva Records, following the limited success of A Biography abroad. Produced by Tony Defries, the album showcased Mellencamp’s growing confidence as a rock artist and began to solidify his place in the American rock landscape.
The album was recorded in various studios, including CBS Studios in New York City and AIR Studios in London, reflecting Mellencamp’s commitment to creating a polished and engaging sound. Musically, John Cougar blends rock, pop, and a touch of new wave, displaying the artist’s efforts to strike a balance between commercial appeal and personal authenticity. Key collaborators included musicians like guitarist Larry Crane, whose contributions became an integral part of Mellencamp’s sound during this era.
Critically, the album’s standout track, “I Need a Lover,” carried over from A Biography and became Mellencamp’s first major U.S. hit, receiving substantial airplay and serving as a career catalyst. Other tracks, such as “Miami” and “Small Paradise,” revealed Mellencamp’s ability to weave vivid imagery and storytelling into his music, a skill he would refine in later works. While the album didn’t achieve massive commercial success upon release, it set the stage for Mellencamp’s breakout in the 1980s.
John Mellencamp’s Nothin’ Matters and What If It Did stands as a pivotal moment in his career, bridging the gap between his earlier struggles for artistic recognition and the widespread success that would soon follow. Released in 1980 through Riva Records, the album reflects Mellencamp’s growing confidence as a songwriter while maintaining his ability to craft catchy, heartfelt rock tunes. Produced by legendary producer Steve Cropper, known for his work with Booker T. & the MG’s and Otis Redding, the album showcases a polished sound that elevates Mellencamp’s music to new heights.
Recorded at the famed Cherokee Studios in Los Angeles, the album highlights Mellencamp’s knack for combining relatable lyrics with accessible melodies. Musicians on the record include guitarist Larry Crane and drummer Kenny Aronoff, both of whom played critical roles in shaping Mellencamp’s signature sound. The production is crisp yet retains a raw energy that gives the songs their emotional punch.
Two singles, “Ain’t Even Done with the Night” and “This Time,” emerged as highlights, with the former becoming one of Mellencamp’s earliest chart successes. Both tracks showcase Mellencamp’s ability to blend earnest lyrics with infectious hooks, signaling the maturation of his artistic voice. Songs like “To M.G. (Wherever She May Be)” reveal Mellencamp’s introspective side, offering glimpses of the deep storytelling that would define his later works.
By the time American Fool hit shelves in 1982, John Mellencamp had spent years refining his sound and identity, culminating in a record that cemented his place among rock’s great storytellers. Recorded at Criteria Studios in Miami, Florida, and Cherokee Studios in Los Angeles, California, this album reflects Mellencamp’s determination to balance raw emotional honesty with accessible rock hooks. Co-produced by Mellencamp and Don Gehman, the album is a tightly crafted collection of tracks that resonate with themes of love, perseverance, and small-town life.
The album brought together a stellar lineup of musicians, including Larry Crane on guitar, Mike Wanchic on rhythm guitar and backing vocals, Kenny Aronoff on drums, and George “Chocolate” Perry on bass. Mellencamp’s collaboration with longtime co-writer George Green resulted in unforgettable songs like the chart-topping “Jack & Diane,” which paired heartfelt lyrics with an acoustic-driven melody. Tracks such as “Hurts So Good,” powered by its driving rhythm and gritty guitar work, became instant classics, with “Hurts So Good” earning Mellencamp a Grammy for Best Male Rock Vocal Performance.
Commercially, American Fool was a juggernaut. It reached number one on the Billboard 200, with “Jack & Diane” and “Hurts So Good” becoming defining tracks of the era. The album’s blend of rock, pop, and heartland themes struck a chord with listeners, offering anthems of both rebellion and reflection. From the introspective “Weakest Moments” to the rollicking “Thundering Hearts,” every track contributed to the record’s enduring legacy.
Released in 1983 but originally recorded in 1977, The Kid Inside offers a fascinating glimpse into John Mellencamp’s journey during the early stages of his career. The album was recorded after his debut, Chestnut Street Incident, but remained shelved for years, only seeing the light of day after Mellencamp had achieved significant commercial success. Produced by Tony Defries, the album provides a snapshot of an artist exploring his identity while navigating the music industry’s challenges. The tracks reflect Mellencamp’s evolving songwriting and offer a mix of rock influences that would later define his signature style.
The album features Mellencamp as both the lead vocalist and primary songwriter, backed by an array of musicians who contributed to its distinctive sound. Recorded in 1977, the sessions took place at Criteria Studios in Miami, a renowned location that had hosted iconic artists like Fleetwood Mac and the Eagles. Despite the delayed release, The Kid Inside serves as a valuable piece in understanding Mellencamp’s artistic development.
While The Kid Inside did not chart significantly upon its 1983 release, its importance lies in its raw portrayal of Mellencamp’s ambitions and struggles. Tracks like “The Whore” and “Cheap Shot” showcase his lyrical grit, while “American Son” hints at the themes of small-town life and identity that would dominate his later works. The album was met with moderate interest, primarily due to its timing and the contrast with Mellencamp’s polished mainstream hits.
Feature Photo: Randy Miramontez / Shutterstock.com
The Firm was a British rock supergroup formed in 1984, composed of high-profile musicians from iconic rock bands. It was created by guitarist Jimmy Page (Led Zeppelin) and singer Paul Rodgers (Free, Bad Company). The band was known for its mix of hard rock and blues, producing music that showcased the talents of its members. Their self-titled debut album, The Firm (1985), was a commercial success, reaching the Top 20 in both the UK and US charts. The album featured notable tracks like “Radioactive” and “Money Can’t Buy.” Their follow-up album, Mean Business (1986), was less successful and did not receive the same critical acclaim as their debut. Despite their star power, The Firm disbanded shortly after, with members returning to their respective bands. Their music remains an interesting chapter in the careers of Page and Rodgers, and their brief collaboration continues to be remembered fondly by rock fans.
The formation of The Firm marked a departure from the respective bands of its members, giving them an opportunity to explore new musical directions. Jimmy Page, a legendary figure in rock, had recently wrapped up his post-Zeppelin work, while Paul Rodgers was coming off his time with Bad Company. Their collaboration brought together their strengths in hard rock and blues, with Tony Franklin (bass, keyboards, synthesizer) and Chris Slade (drums, percussion) rounding out the lineup. Franklin’s fretless bass playing and Slade’s drumming helped provide a strong rhythm section, while Rodgers’ distinctive vocals and Page’s guitar work were at the forefront. Despite their combined experience and talent, The Firm had a short-lived existence, lasting only two albums before the group dissolved.
While their time together was brief, the musical chemistry among the members of The Firm created some memorable tracks that have endured in rock history. Both The Firm and Mean Business albums are frequently referenced as solid examples of the mid-1980s rock scene, blending elements of blues, hard rock, and pop sensibilities. Following the band’s disbandment, members of The Firm returned to other high-profile musical endeavors. Paul Rodgers would go on to sing for Queen, while Jimmy Page would continue to be an influential figure in rock through his solo career and collaborations. Here is a closer look at the members of The Firm.
Paul Rodgers
Paul Rodgers is one of rock’s most respected and versatile vocalists. As the lead singer and rhythm guitarist for The Firm, Rodgers brought his distinctive voice to the band’s hard rock and blues-oriented sound. He had first achieved fame as the lead singer of Free, best known for the song “All Right Now,” and then went on to front Bad Company, another iconic rock band. His powerful, soulful voice was a perfect complement to Jimmy Page’s guitar work in The Firm. Rodgers played rhythm guitar, acoustic guitar, and piano, adding his own musical flair to the band’s recordings.
Rodgers’ contributions to The Firm include his commanding vocal presence on tracks like “Radioactive” and “Money Can’t Buy,” both of which became defining moments in the band’s brief career. Following the band’s dissolution, Rodgers remained active in rock music, embarking on a solo career and eventually joining Queen as their lead vocalist for live performances. His work with Queen, particularly in the 2000s, helped to reintroduce his incredible vocal talents to a new generation of fans. Rodgers has also continued to perform with his own bands and has collaborated with various artists, maintaining a legacy as one of rock’s finest vocalists.
Outside of his work with The Firm, Paul Rodgers is often regarded as one of the greatest rock singers of all time. His time with Free and Bad Company cemented his place in rock history, and his contributions to hard rock and blues have had a lasting impact on the genre. Rodgers is noted for his dynamic range and powerful stage presence, which have been integral to his long and successful career.
Jimmy Page
Jimmy Page is widely considered one of the greatest guitarists in rock history, known for his work as the founder and guitarist of Led Zeppelin. After the breakup of Led Zeppelin, Page was eager to explore new musical ventures, and this led to the formation of The Firm in 1984. Page brought his legendary guitar skills to the band, playing lead guitar, acoustic guitar, and occasionally using a violin bow on his guitar—an effect that had become one of his signature techniques with Led Zeppelin. His contributions to The Firm were crucial, providing the heavy, blues-infused riffs and solos that were central to their sound.
Page’s experience in Led Zeppelin allowed him to bring a depth of musical knowledge and creativity to The Firm’s albums. His work on The Firm (1985) and Mean Business (1986) showcased his versatility, blending hard rock with elements of pop and blues. Although The Firm was short-lived, Page’s guitar work continued to influence rock music, and he remains a highly respected figure in the music industry. Following the band’s dissolution, Page continued his career, collaborating with other musicians and releasing solo work, including the critically acclaimed Outrider (1988).
Beyond The Firm, Jimmy Page’s impact on music is immeasurable. As the mastermind behind Led Zeppelin’s legendary sound, Page shaped the trajectory of hard rock and heavy metal. His pioneering use of studio techniques, unique guitar playing, and songwriting ability are fundamental to Led Zeppelin’s iconic status. Page has continued to perform and collaborate with artists throughout his career, most notably in live performances and projects that pay tribute to Led Zeppelin’s musical legacy.
Tony Franklin
Tony Franklin, the fretless bassist for The Firm, was a key member of the band, contributing not only his innovative bass playing but also his work on synthesizers and keyboards. Franklin’s fretless bass playing added a smooth, melodic quality to The Firm’s sound, blending beautifully with the hard rock elements provided by Page and Rodgers. Franklin’s distinctive fretless bass lines on tracks like “Radioactive” helped define the band’s style, adding a depth and richness to the rhythm section. His contributions were especially important in creating the band’s smooth fusion of rock and blues influences.
Prior to joining The Firm, Tony Franklin had already established himself as a talented session musician, working with artists such as Jimmy Page’s former bandmate Robert Plant and the Steve Vai band. His ability to adapt to various styles made him a sought-after collaborator. After The Firm disbanded, Franklin continued to work as a session bassist, contributing to projects across rock, jazz, and progressive music. He later joined the band Blue Murder, where his fretless bass playing became a signature feature.
Franklin’s work outside of The Firm has included a wide range of musical collaborations and session work. His bass-playing technique, particularly on the fretless instrument, has influenced many other musicians in rock and progressive music. His versatility and ability to blend in with different genres have made him one of the industry’s most respected session bassists.
Chris Slade
Chris Slade, the drummer for The Firm, played an important role in shaping the band’s rhythm section. Slade joined the group in 1975 and remained with them through their brief but successful stint. His drumming style, characterized by powerful beats and tight rhythms, was a perfect complement to the band’s dynamic sound. Slade’s contributions were integral to both of The Firm’s albums, providing the necessary foundation for Page’s guitar work and Rodgers’ vocals. His drumming on tracks like “Money Can’t Buy” showcased his ability to drive the band’s sound forward.
Before joining The Firm, Slade had played with several other bands, including AC/DC, where he would go on to play some of the band’s most iconic tracks. His work with The Firm allowed him to further develop his skill as a rock drummer, contributing to the band’s successful fusion of blues and rock elements. Slade’s time with The Firm was short but impactful, with his drumming playing a pivotal role in the band’s sound.
After The Firm disbanded, Slade went on to join AC/DC in 1989, replacing their previous drummer and contributing to the band’s renewed success. He played on albums like The Razors Edge (1990) and toured with the band extensively. Slade has remained an active figure in the rock community, performing with various artists and bands over the years. Additionally, he played with bands such as Asia and we interviewed him about his experiences with The Firm, where his insight into the band’s brief but memorable existence was shared with rock enthusiasts.
Check out more The Firm articles on ClassicRockHistory.com Just click on any of the links below……
Guitar Meets Science has shared a new video focusing on the rise of Eddie Van Halen as a legend. Check it out below.
“This week, we dive deep into the explosive debut album that changed rock music forever: Van Halen I. We’ll explore the making of this iconic record, from the band’s wild days on the Sunset Strip to the groundbreaking recording sessions at Sunset Sound Recorders. Discover how Eddie Van Halen’s revolutionary guitar techniques, David Lee Roth’s flamboyant showmanship, Alex Van Halen’s thunderous drumming, and Michael Anthony’s rock-solid bass and soaring harmonies came together to create a masterpiece.
We’ll break down the stories behind legendary tracks like ‘Eruption’, ‘Runnin’ With The Devil’ and ‘Ain’t Talkin’ ‘Bout Love’, and uncover the secrets behind the band’s signature ‘brown sound.’ We’ll also look at the album’s immediate impact and its enduring legacy as one of the greatest hard rock albums of all time.”
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