Author: u0zp4y

Here are five things you need to know about Simon Dawson, Iron Maiden’s new drummer.

Over the weekend, the metal legends shocked the world with the sudden news that Nicko McBrain would be playing his final show with the band, ending his 42-year tenure. While he promised he’ll still be busy with a few other things, it quite literally is the end of the road for the drummer as Maiden’s The Future Past tour came to a close in Sao Paulo, Brazil on Saturday (Dec. 7).

At 72 years old, McBrain ends a fantastic and celebrated career, officially stepping down from touring duties.

Just hours after the drummer left the Iron Maiden stage one final time, Iron Maiden welcomed Simon Dawson to the group. He’s expected to make his live debut next year as the band embarks on a 50th anniversary tour, exclusively playing material from their first album through 1992’s Fear of the Dark.

READ MORE: Watch Nicko McBrain Play His Last Iron Maiden Show

What all fans have learned throughout the years is that Iron Maiden always operate with a calculated plan. Obviously, McBrain’s retirement from the road was no secret to the band, but it was kept quiet until the final show. Fortunately, we don’t have to wait and wonder who could possibly fill such a significant role.

Dawson’s most immediate connection to Iron Maiden is being Steve Harris‘ bandmate in the side band British Lion. An established chemistry for a band with such a legendary rhythm section is critical, especially when staring down a setlist lined with classics and, presumably, deep cuts from Maiden’s most widely celebrated era.

So, who is Simon Dawson? What other bands has he been in?

Let’s dive into a few things you need to know about the drummer below.

He’s British!

For that brief day Iron Maiden fans were left in limbo, wondering who the new drummer will be, a respectable crop of names emerged as fans discussed the mystery with each other online.

While Mike Portnoy and Aquiles Priester were two popular suggestions (and each could have capably executed the job), it was doubtful that Maiden were going to recruit someone who isn’t British. It’s simply a huge part of the band’s character and makeup (even if Harris’ former and current techs, who double as Maiden’s live keyboardist, aren’t British).

Portnoy, who has plenty of experience juggling multiple bands, just returned to Dream Theater. The prog metal legends finished the first leg of their 40th anniversary tour and have a new album arriving next year, so a full commitment to Maiden never felt likely.

Priester, meanwhile, has a connection to Iron Maiden, having played with Paul Di’Anno in the late ’90s and early 2000s. His 2000s tenure in Brazilian power metal group Angra would have ensured that fans in Brazil would have gone absolutely bonkers — more bonkers than they usually do for Iron Maiden.

Dawson, being a native Brit, however, gave him an edge others can never possess.

His NWOBHM Credentials Go Way Back

The New Wave of British Heavy Metal (NWOBHM) was a tagline applied to the burgeoning U.K. scene, preceded by the likes of Black Sabbath, Judas Priest and Motorhead. It referred to the traditional heavy metal style that was popularized throughout the ’80s, with Iron Maiden being the biggest of the bunch.

Other NWOBHM standouts included Venom, Angel Witch, Witchfinder General, Tokyo Blade, Jaguar, Grim Reaper, Cloven Hoof and White Spirit (which featured future Maiden guitarist Janick Gers.)

Lesser known are Deep Switch, who formed in 1984 and self-released their lone record, Nine Inches of God, in 1986.

It’s a fine album that’s a bit more rhythmic-minded than the typical dueling guitar nature of NWOBHM with quirky lyrics that often delve into the absurd and sexually blasphemous (see the title track).

The members of Deep Switch all utilized stage names (Reverend Nice being our personal favorite) and Dawson recorded under the moniker Simon De Montford.

Can He Groove? Oh Yes, He Can!

One big question fans have about Dawson is if he can replicate Nicko’s sense of swing and groove. It’s this quality, coupled with ‘Arry’s signature galloping style and finger-brushed chord strikes that provide Iron Maiden with their sense of urgency and uncorked energy, especially live.

In the ’90s, Dawson was a member of thrash/groove metal band Dearly Beheaded. The music was very well aligned with the dominant metal sound of the time, which was led by Pantera.

In the live footage below, you can check out Dawson’s chops, which border on extreme metal at times. The performance has us convinced that he could probably play “Where Eagles Dare” in double time!

He Was Actually in a Big Pop-Rock Band for 20 Years

Whether you know the name of the band that wrote it or not, we’re willing to bet you’ve heard “Your Love” at least 10 times throughout your life. You know the chorus — “I just wanna use your love toniiii-iiight / I don’t wanna lose your love toniii-iiight.”

No, Dawson didn’t play on that all-time hit by British power-pop group The Outfield, but he was their drummer for 20 years, first joining in 1989. He replaced Alan Jackman after the band had released three records, the first of which has been certified double platinum in the U.S. thanks to the aforementioned massive radio hit.

Dawson made his debut on 1990’s Diamond Days and played on all four of The Outfield’s ’90s albums.

It’s a wild path to Iron Maiden with The Outfield as one of the avenues, but it showcases Dawson as a true professional and a drummer who can play a multitude of styles exceptionally well.

He’s Played With Steve Harris For More Than a Decade

As mentioned earlier, Simon Dawson is the drummer in British Lion, a hard rock band founded by Steve Harris. He played on a trio of songs on the group’s self-titled 2012 debut, fully contributing to British Lion’s sophomore effort, The Burning (2020).

British Lion have performed live every year since 2013, meaning that Dawson and Harris have spent a lot of time playing together onstage and in rehearsals. That chemistry cannot be understated, especially in the absence of 42 years of locked in with one another as Harris and McBrain were.

Iron Maiden’s live reputation is everything and, if it were to take years for a new chemistry to develop between one of metal’s most influential bassists and his new drummer, the delivery could run the risk of missing the mark.

Truly, Dawson has every appearance of being the appropriate fit for Iron Maiden and continuing the legacy Nicko leaves behind, as well as the late, great Clive Burr.

Welcome, Simon Dawson!

According to a new report published by Rolling Stone a judge is urging KISS legends Gene Simmons and Paul Stanley, music manager Doc McGhee, and KISS’ touring company to consider settling a lawsuit brought by the famed band’s longtime wig stylist over alleged mistreatment on tour.

The lawsuit, first filed in February 2023, alleges KISS deprived plaintiff David Mathews of overtime wages and adequate breaks, and then wrongfully terminated him in 2022 after he voiced concerns about the band’s COVID protocols surrounding pandemic-era shows. After nearly two years of wrangling, a trial is set to begin on January 22, 2025.

Los Angeles County Superior Court Judge Armen Tamzarian addressed the lawyers on both side during the Friday hearing, saying: 

“The first time I saw this lawsuit, it was clear both sides had very serious risks. If this goes to trial, it would not surprise me if Mr. Mathews got nothing. It would not surprise me if he made a big pot of money. This is the kind of case any rational person would settle. There’s big risk this could swing dramatically one way or the other. This is a tough case for plaintiff to win, but if he wins, there are deep, deep pockets there, and there could be a big result.”

It wasn’t clear Friday when Judge Tamzarian might issue his ruling. The final status conference remained set for January 6, 2025, two weeks before the scheduled trial.

Read the complete report here.

Gene Simmons Band, the touring act around KISS singer/bassist, Gene Simmons, have announced a string of 2025 tour dates. The dates for the shows can be found below, and tickets are available via genesimmons.com.

2025 tour dates:

April
28 – The Moon – Tallahassee, FL    

May
3 – Beaver Dam Amphitheater – Beaver Dam, KY
5 – Basie – Red Bank, NJ
22 – House Of Blues – Dallas, TX
24 – House Of Blues – Houston, TX

Simmons is featured on the soundtrack for the 2024 film, Regan, performing the jazz standard, “Stormy Weather”, written by Harold Arlen and Ted Koehler. The official video for the song can be found below.

About Reagan:

From dusty small-town roots, to the glitter of Hollywood, and then on to commanding the world stage, Reagan is a cinematic journey of overcoming the odds. Told through the voice of Viktor Petrovich, a former KGB agent whose life becomes inextricably linked with Ronald Reagan’s when Reagan first caught the Soviets’ attention as an actor in Hollywood, this film offers a perspective as unique as it is captivating.

Dennis Quaid brings to life a story that transcends the boundaries of a traditional biopic, offering a profound exploration of the enduring impact of the power of one man who overcame the odds, sustained by the love of a woman who supported him in his journey.

Canadian thrashers Triskelyon have a new music video, “Endgame Euphoria”, in support of their third album, Shattered Elysium unveiled this past September via Moribund Records. Check it out below.

Band founder Geoff Waye comments:

“‘Endgame Euphoria’ is the final music video from Shattered Elysium. The track critiques both the media’s fixation on ‘bad’ news and the audience’s morbid fascination with watching disasters unfold, often with a mix of glee and dread. Whether the tragedies are natural or man-made, they dominate the headlines and can distort perceptions. A line from the song encapsulates this sentiment: ‘Braindead salivating / Fixate on tragedy / Cheerlead downfall / Revel in the anarchy.’ While staying informed is important, so too is knowing when to step away and enjoy life.”

Shattered Elysium runs the gamut from pure ’80s thrash and speed Metal to classic power Metal, and traditional metal, and even includes some brutal death-thrashers. It attains an impressive new milestone in classic thrash metal, with far-reaching appeal across all heavy metal sub-genres. “Shattered Elysium” truly resurrects the glory days of the 1980s, while maintaining a fresh and modern sound!

In keeping with Triskelyon’s tradition of closing their albums with an iconic cover, this release delivers a thunderous metal rendition of Duran Duran’s mega-hit “Hungry Like the Wolf.” This powerful transformation is destined to become a radio sensation and ignite a storm of social media buzz!

The album features a thrilling list of guest musicians that includes the vocal talents of Amanda Kiernan (Into Eternity, The Order of Chaos), Eric Forrest (E-Force, ex-VoiVod), Tiina Teal (Détente), Amanda Jackman (Category VI), Armin Kamal (Infrared), Dale Drew (Sea Dogs), Fíochmhar (Artach), and Des Mason & Pete Healey. Traditional yet intricate thrash drum duties are also exceptionally executed by Raul Marques (Burning Torment), while Dwayne Pike, Keith Jackman (Category VI), Rick White, and Darrin Pope were conscripted on bass.

Order Shattered Elysium here.

Tracklist:

“Beyond Shattered Elysium (Intro)”
“Endgame Euphoria”
“Anarchy Avenue”
“Hellbound Hellions”
“Sealed Hypocrisy”
“Under His Eye”
“Eternal Conflict”
“The Battle for Monte Cassino”
“Phantom Serenade”
“Whispers from the Shadows”
“Hungry Like the Wolf” (Duran Duran cover)

“Anarchy Avenue”:

This time last year, While She Sleeps hit their apex. Playing their biggest-ever headline show in London’s 10,000-capacity Alexandra Palace, the Sheffield mavericks proclaimed their ascension – and they used 90 minutes of cinematic visuals, multi-storied stage props and incredible songs to do it.

One year on, the environs are smaller but the scene is no less triumphant. Sixth album Self Hell came out in spring, turning up the juice on Sleeps’ electro-metalcore edge, and got followed by a summer stealing the show at multiple festivals. Their return to London has “victory lap” written all over it: even if the grandeur of Ally Pally’s been swapped for the pokier O2 Forum Kentish Town, they’re selling this place out two nights on the trot and bringing production worthy of somewhere 10 times the size.

From the off, everything still appears impressive. The Northerners march onstage in front of a stack of Marshall amplifiers, which has Adam Savage’s drum kit perched on top. As they burst from introduction Peace Of Mind to the confrontational Leave Me Alone, the full-throttle metal gets amplified by a blinding light rig. Every change in Sean Long and Mat Welsh’s riffs gets complemented by a new formation of beams. Whether they’re static columns, blinking flashes or sweeping searchlights, they’re a staggering display for the 2,300 in attendance.

There’s not quite as much versatility in the setlist, mind. Anti-Social, You Are All You Need, The Guilty Party and Rainbows continue the night, and it becomes clear Sleeps are all about their recent history this evening. Debut album This Is The Six is entirely ignored and followup Brainwashed would be as well, were it not for Four Walls and its mass singalong.

The choice could have irked longtime fans, but they don’t have the time to feel affronted, as each new track arrives at breakneck speed with minimal patter in between. Plus, when the whole room jumps to Systematic and countless crowd-surf during Down, it’s obvious Sleeps are as dedicated to exhilaration now as they’ve ever been.

The evening draws to a dynamic close, with To The Flowers’ worbling tenderness swiftly juxtaposed by the anthemic Sleeps Society. It’s a closing declaration of versatility from a band who still feel essential and energised, even when they’re not shattering their own attendance records. Put Sleeps in any venue and they will play like their lives depend on it, and that’s what has earnt them sellout after sellout after sellout.

While She Sleeps setlist: O2 Forum Kentish Town, London – December 6, 2024

Peace Of Mind
Leave Me Alone
Anti-Social
You Are All You Need
The Guilty Party
Rainbows
You Are We
Self Hell
Systematic
Four Walls
Down (feat. Brian Wille of Currents)
Hurricane
Enlightenment(?)
Silence Speaks (feat. Anthony Diliberto of Resolve)
To The Flowers
Sleeps Society

Pearl Jam released their third album, Vitalogy, in late 1994 at a time when the Seattle band’s popularity was continuing to build at an explosive pace. Of the many unexpected things that developed in that time period, the biggest surprise was the group’s summit in the recording studio with Neil Young for 1995’s Mirror Ball.

The band’s longtime associate, Brett Eliason, has a vivid memory of how the collaboration took shape. “Pearl Jam had played Constitution Hall in D.C. for Gloria Steinem’s Voters for Choice [concert],” he recalled in a new interview on the UCR Podcast. “Neil and Crazy Horse joined us for that show. Pearl Jam was last. Neil had done his set [and] had some new songs he had been working on. He was so blown away by the energy of Pearl Jam that night that he asked if they would do an encore with him and play one of the songs that [eventually] became part of Mirror Ball. They learned [it] backstage, went out and it was great.”

Young and Pearl Jam performed “Act of Love” that night and the moment was the catalyst that planted a seed in the Canadian rocker’s head that he should make an album with the group. True to his usual form, he had a vision for how it should all go down. He told the band members that he wanted the sessions to be very “Pearl Jam-centric.” He would come to Seattle to record the material with the group, utilizing their longtime producer, Brendan O’Brien, plus Eliason and other members of their team.

Bad Animals, the area recording studio owned by Ann and Nancy Wilson of Heart at the time, ended up being the location chosen for the sessions. “We brought this huge rug from the rehearsal space to lay down,” Eliason remembers. “We set up couches and lamps, and made this large room super homey, like a big living room. The band was set up in a semi-circle with live monitors….it was kind of similar to a stage setup, but they could play live together out there and that’s what they did.”

Like so many of Young’s past recordings, Eliason recalls that the sessions were pretty loose. “We’d go until they captured what they wanted as a base and that was it. There was really no fixing unless it was such a great take and there was one little thing that needed to be repaired. We’d punch it in and fix it up. Neil would double his voice a bit, but even his vocal was being laid down at the same time the band was playing and he was playing guitar. It was just magical.”

Listen to Neil Young and Pearl Jam Perform ‘Downtown’

What you hear is quite literally what they got during the sessions in January and February of 1995. “The majority of that record was just the board mixes that were up,” Eliason confirms. “That’s Neil. If it was feeling right at the time, it’s done. I love that about him. He doesn’t overthink things. Probably 90 to 95% [of Mirror Ball] were just the rough mixes that were up on the console between Brendan and myself.”

Young and Pearl Jam took the fruits of what they’d accomplished to the road, playing a short series of shows in the summer of 1995. It capped a momentous year that had also seen Eddie Vedder give the speech to induct Young into the Rock & Roll Hall of Fame, two days before the Voters for Choice concert. He praised the songwriter for teaching Pearl Jam “a lot about dignity and commitment” and perhaps most importantly, “playing in the moment,” something they definitely eventually captured during the Mirror Ball sessions.

Fans who are hoping for an expanded reissue of Mirror Ball, can perhaps dim those hopes as far as unreleased studio material. “From the [sessions], all of that pretty much got out,” he says. “We did record a live show at Moe’s up on Capitol Hill in Seattle. That was the first time they’d played this record together. Those tapes are somewhere. That would be fun, because it was a good show.”

During the interview, Eliason also spoke about the recording process for Pearl Jam’s Vitalogy, which was recently remixed for the first time in spatial audio. You can listen to the conversation below.

Listen to Brett Eliason on the ‘UCR Podcast’

Former Eagles guitarist Don Felder admits it was a “fun challenge” playing alongside Joe Walsh.

During a recent conversation with UCR’s Matt Wardlaw, Felder discussed his penchant for guitar solos, specifically those in which he and another rocker trade riffs.

“Somebody would be playing, and you step back and give them that period. And then they step back and give you an opportunity to step forward,” Felder explained. “And then somebody starts climbing up in their solo, and you go down below and play in a lower octave to support them. And then you crisscross on the way up and the way down and coming back. It’s just things you can’t necessarily teach somebody how to do. It’s more of a feel.”

Felder further noted the distinctive musical chemistry he enjoyed with his former Eagles bandmate, Walsh.

READ MORE: Top 10 Don Felder Eagles Songs

“Joe and I really felt that very, very comfortably to be able to jam together, whether it was in the Eagles or before he joined the Eagles or on Joe Walsh and Friends videos and stuff like that,” the rocker recalled. “We just instinctually were able to do that by having just the sensitivity of how another person plays and knowing when to play and when not to play, when to be a support character and when to step in and be a lead character.”

“That’s exactly what Joe and I used to do all the time, every song,” Felder continued. “But we had enough grace to allow the other person to take the lead step and to hold hands going through it. It was never a, ‘I’m better than you.’ It was never an ego competition at all. It was just a fun challenge to have Joe play a lick and then, ‘Hell, I can beat that.’ And I play something and then he takes a step back and then he comes in like a bull. It was just fun to be able to play off of people like that.”

Don Felder Hails Tommy Shaw as a ‘Talented Triple Threat’

Similar to his chemistry with Walsh, Felder feels a musical connection with Styx leader Tommy Shaw.

“Tommy Shaw is probably one of the most talented triple threats that I know. I have the ultimate respect for people that can write, sing and play,” Felder declared. “Tommy is just a monster at that. And for him to be able to have the guitar dexterity and talent, to be able to play all those solos on the end of the harmonies and everything, and be able to sing [is impressive].”

READ MORE: 2025 Rock Tour Preview

The rockers will have a chance to showcase their aligned energies when they hit the road together in 2025. The two have jammed together on the Eagles classic “Hotel California” in the past, though Felder cautioned its a not a guarantee to be in the set list every night.

“I’m not sure we’re going to do it this time,” he noted. “We might. We might not. Maybe save it for special occasions. I don’t know, we’ll see. It’s just going to be a lot of fun stuff.”

Eagles 10 Most Famous Concerts

A Los Angeles judge told Kiss to consider settling an upcoming court case against their fired wig roadie, saying the band could be hit in its “deep, deep pockets” if the ruling didn’t go its way.

The lawsuit was brought in February 2023 by former crew member David Mathews, who claims he was mistreated on tour and then wrongfully terminated after his 30-year tenure turned sour.

Mathews – whose main responsibility as part of the costume team was to maintain the band’s hair – claimed he was forced to work in close proximity with Gene Simmons while the musician was suffering from COVID, but denying it.

In his six-point suit he also claimed he was fired by manager Doc McGhee for allegedly being involved in reports in which the Kiss crew revealed their concerns about the band’s COVID measures, in the aftermath of guitar tech Fran Stueber’s death from the illness on the road. Mathews insists he wasn’t one of those who spoke to journalists.

READ MORE: Paul Stanley Feels ‘Kind of Disoriented’ After Farewell Kiss Tour

“The first time I saw this lawsuit, it was clear both sides had very serious risks,” L.A. County Superior Court Judge Armen Tamzarian said during a hearing on Friday (via Rolling Stone).

He continued: “If this goes to trial, it would not surprise me if Mr. Mathews got nothing. It would not surprise me if he made a big pot of money. This is the kind of case any rational person would settle. There’s big risk this could swing dramatically one way or the other. This is a tough case for plaintiff to win, but if he wins, there are deep, deep pockets there, and there could be a big result.”

The judge admitted: “I don’t know what I’m doing to do with this” if the case commences as scheduled on Jan. 6. He told lawyers on both sides: “You’re both overconfident in your positions.”

Judge Says No Laws for Rock Bands with Makeup During Covid

He also criticized Kiss’ position that Mathews was a contractor rather than an employee, saying: “I’m not so sure I’m buying that argument. Let’s say he had his own hair studio in Beverly Hills, and every time they went on tour, they went to him and he fixed up their hair. That’s one thing.

“[But] he didn’t have his own hair studio. He didn’t cut anybody else’s hair. All he did for a couple years was cut the hair of these guys. He had some side gigs, but they weren’t side gigs in hair.”

He also queried Mathews’ position on how the band should have gone about COVID protection. “I’m unaware of any law or regulation about somebody who’s in a rock ’n’ roll band … where the performer who’s wearing makeup has to wear a mask.

“After they put on the makeup, Gene Simmons should have put on a mask? Wouldn’t that ruin the makeup and ruin the whole point? Is that what you’re saying they should have done? It’s not practical for how they do things. That’s going to be their argument at trial.”

Kiss Solo Albums Ranked Worst to Best

Counting down solo albums released by various members of Kiss.

Gallery Credit: Matthew Wilkening

More From Ultimate Classic Rock

The first global economic study into the effect of AI on the creative industries suggested that those working in the music industry could lose over a fifth of their income in the next three years.

The International Confederation of Societies of Authors and Composers (CISAC) revealed the conclusions of the report, which, they said, emphasizes the need for urgent new legislation to protect their five million members and others.

The study suggested that, if new laws aren’t introduced, corporations will have the ability to continue developing AI music from poorly-protected copyrighted material created by humans, and will make more money than ever before out of that material, without having to share any with artists.

READ MORE: Singers Offered AI Voice Cloning by World’s Biggest Record Label

As a result, corporate profits could explode, while artists – and many others working in the creative industries – could see their income fall by over 20 per cent by 2028. By that time, the CISAC report said, the AI industry is expected to have expanded from $3.1 billion worldwide to $67.7 billion.

The key argument in the matter concerns how AI models are trained. It’s argued that if a model is given access to an artist’s work, and then generates its own version of that work, the new work is entirely the property of the AI’s owners, and the artist whose work was used to train the AI has no ownership rights. That position is disputed by many artists, who face having their material used and re-used without enjoying a share of profits.

AI Should Enhance Creativity, Not Replace it – Bjorn Ulvaeus

ABBA’s Bjorn Ulvaeus, the current CISAC president, identified upcoming legislation in Australia and New Zealand which, he said (via the Guardian), was the kind of lawmaking needed to protect creatives around the world from the risk of losing out.

“By setting a gold standard in AI policy – one that protects creators’ rights while fostering responsible and innovative technological development – Australia and New Zealand can ensure that AI serves as a tool to enhance human creativity rather than replace it,” Ulvaeus said.

“The world is watching, and the decisions made will resonate far beyond these shores.”

Dean Ormston of Apra Amcos, the Australian music rights management organization, said that similar legislation was required as a matter of urgency. “It’s creators who stand to lose the most,” he argued.

“Our industry thrives on human creativity … [G]overnments need to take the lead and act decisively to protect the livelihoods of creators and the future of our creative industries.”

The brand new German symphonic / epic metal band, Skytribe, have released their debut single, “Kingdom Of The Sky”, via Reaper Entertainment. It is accompanied by a spectacular and lavishly produced music video which can be viewed below.

The video for “Kingdom Of The Sky” was shot at the impressive Externsteine ​​in the Teutoburg Forest (North Rhine-Westphalia). Produced by Ismael Meisingen and Jannis Krenke, it shows the band as an energetic unit in a unique setting. 

The band comments: “The time has come: Skytribe is here! We are a female-fronted metal band that combines hard riffs with epic orchestral sounds. Our music is powerful, melodic and comes straight from the heart – carried by Dorothée Kahler’s expressive voice.

With our very first single, ‘Kingdom Of The Sky’, we want to send a clear message to the world: No matter how different we are, we all share this vast, infinite firmament. Our music stands for solidarity and the conviction that we can only overcome the challenges of life together.

Together we have given everything over the last few months to make our vision a reality – and now we are really looking forward to finally sharing our music with you. Stay tuned – this is just the beginning!”

Skytribe is:

Dorothée Kahler – vocals
Emanuel Knorr – lead guitar
Robin Hadamovsky – rhythm guitar
Elias Knorr – drums