Eddie Trunk's Essential Hard Rock and Heavy Metal, Volume II

EDDIE TRUNK IS ONE OF THE GREATEST TRUE ROCK-AND-ROLL FANS I’VE EVER MET. HE HEARS IT, SEES IT FROM ALL ANGLES, WITH AN UNUSUALLY UNBIASED POINT OF VIEW.—SLASH

In the much-anticipated sequel to the best-selling Eddie Trunk’s Essential Hard Rock and Heavy Metal, Eddie picks up where he left off by covering more than thirty-five new bands and sharing his passion for all things hard rock and heavy metal. From Ace Frehley to Marilyn Manson, Volume II reveals all the underground classics and Stump the Trunk trivia that Eddie’s legions of viewers and listeners have been clamoring for.

Complete with favorite playlists, band discographies, memorabilia, more than two hundred full-color photographs, and an introduction by renowned guitarist Slash, Eddie covers both music that is legendary and music that is forgotten. Combining a brief band history with Eddie’s unique personal experiences and anecdotes, Volume II is a must-have for all metalheads and any true fan of rock and roll.

CONTENTS

FOREWORD

INTRODUCTION

ACCEPT

ALICE IN CHAINS

ANGEL

BLUE ÖYSTER CULT

BUCKCHERRY

CINDERELLA

DOKKEN

DREAM THEATER

EXODUS

EXTREME

LITA FORD

ACE FREHLEY

GREAT WHITE

GLENN HUGHES

KING’S X

YNGWIE MALMSTEEN

MANOWAR

MARILYN MANSON

NIGHT RANGER

TED NUGENT

OVERKILL

QUEENSRŸCHE

QUIET RIOT

RATT

RIOT

SAXON

SLASH

TESTAMENT

TRIUMPH

W.A.S.P.

WARRANT

WHITE LION

WHITESNAKE

ZAKK WYLDE

Y&T

MORE ESSENTIALS

PHOTO CREDITS

ACKNOWLEDGMENTS

FOREWORD

Slash and Eddie

Even though he is the host of VH1 Classic’s That Metal Show, Q104.3’s Eddie Trunk Rocks, and SiriusXM radio’s Eddie Trunk Live, it’s not Eddie Trunk’s ambition that has made him a household name; it’s the fact that he’s one of those very rare rock-and-roll fans who has taken his all-consuming fixation on heavy metal and somehow made it a full-time career. He has combined his seemingly endless knowledge of his favorite music with the patience and stamina to learn ALL the records, ALL the songs, and ALL the players. Let’s face it, he knows EVERYTHING. Eddie sincerely loves the sounds, rhythms, volume, and energy that are hard rock and heavy metal—as well as all the little details of how the music comes together and about the personalities that create it. Eddie also has the drive and the perseverance to tirelessly communicate his obsession to the world—his only motivation being the desire to share the music and the facts with other fans who care as much as he does.

I’ve spent a lot of time with Eddie, over many years, discussing our favorite artists. We share a love for Aerosmith and Cheap Trick, and I’ve witnessed Eddie go on for hours about UFO! His sincerity and genuine passion for the music always make me glad that he is a spokesman for the broad spectrum of material out there and an unbiased crusader in support of the cause. This has made Eddie an icon and a hero to artists and fans alike. We all love him.

This book is my good friend Eddie Trunk’s latest installment in his endless journey through all things rock. It is an encyclopedia of loud guitars, histrionic vocals, and pounding rhythm sections that only he could write. Even when you think you’ve heard it all, Eddie uncovers a piece of trivia or some deep cut that you can’t imagine life without. Volume II is a must-have for true hard rock and heavy metal purists everywhere.

—Slash, 2013

Slash

INTRODUCTION

It is a huge thrill for me to present my second book, Eddie Trunk’s Essential Hard Rock and Heavy Metal, Volume II, to my fellow rock fans and metal supporters. I hope you find that this book lives up to the great volume II’s of the music world: Led Zeppelin II, Kiss Alive II, Van Halen II … well, you get the idea! I learned so much over the last few years since my first book was released, and I was truly blown away by the amazing response to it from music fans everywhere. I had always wanted to write a book, but I hadn’t known what to expect, and the process was new every step of the way. I really enjoyed sharing information about my favorite bands and also telling some stories about my times with them over the years. There will never be enough pages to say everything I’d like to about music, but I’m very happy to pick up where I left off with Volume II.

Eddie, Brad Whitford, and Zakk Wylde

Eddie and Steven Tyler

Eddie and Rob Zombie

Lita Ford, Eddie, and David Coverdale

Eddie hosting the Monsters of Rock cruise

Doug Aldrich, Zakk Wylde, Sammy Hagar, Eddie, Michael Schenker, and John 5

My first book was launched with a great party at the Hard Rock Cafe in Times Square in New York City, and some of the artists featured in the book (and even some in this one) turned up along with my family and friends to toast its release. But one of the best parts of publishing the book was getting to do signings and events where I was able to connect with the fans and thank them in person for all the support they have given me. I want to thank all the wonderful people who came out to meet me—at bookstores and record stores; on rock cruises; on the grounds of the first U.S. Big Four concert, in Indio, California; and at Rocklahoma, the M3 Rock Festival, and other gigs across the country—as well as the bookstores and venues that hosted events, and the media that reviewed my book and helped it to reach the music lovers who have made it all possible. (It was fun to have the tables turned and be the one getting interviewed for a change!)

Jim Florentine, Eddie, Mike Portnoy, Bobby Blitz Ellsworth, and Don Jamieson

The marquee of the Hard Rock Cafe in Times Square on the night of Eddie’s book launch

Steven Adler

Jimmy Page and Eddie

One of the things people enjoyed so much about my first book was the format. Readers loved all the great photos by my friend Ron Akiyama and the others who contributed, along with the stories, playlists, and trivia. So, I’ve stuck with the same format this time. However, I should note that, just like in the first book, my playlists often intentionally leave out the major hit songs from the artists. (Space is always an issue in a book, so I didn’t feel the need to tell everyone to check out Welcome to the Jungle by Guns N’ Roses or Crazy Train by Ozzy Osbourne.) Instead, I tried to include ten tracks per band that are deeper cuts, along with some hits that I love too much to leave out. The discographies are also incomplete. While all studio albums are included, I’ve listed only what I consider to be key live recordings and have left out compilations. Also because of space restrictions, not every member of bands that have had many lineup changes is represented here. Additionally, this book gave me the opportunity to explore full chapters on the bands featured in the More Essentials section of volume one, along with some others. Again, space is limited, so I must stress how difficult it was to choose the featured bands, and none of these selections is meant to slight the other great bands that deserve the full treatment. But like in everything I do in TV and radio, I try to present a balance of bands from both hard rock and heavy metal. If I could write about all the bands or songs that fans have stopped me to talk about on the street or in an airport or outside a concert, I would. It has been fun delving into some of the more obscure or underappreciated groups while writing this volume, and if I didn’t get to a much-loved band here, I hope to do it in the future.

Hard rock and metal fans are the most loyal supporters in the world. Thank you all for listening to me on the radio for thirty years, watching That Metal Show, and reading these pages. I hope my two books will inspire readers to go check out a song or an album by a band they didn’t know much about before and spread the word, or to enjoy learning more about one of their favorites. I hope to see you out on the road soon. Together, let’s continue to celebrate the great music we love and keep it alive and rocking!

—Eddie Trunk, 2013

Eddie and Sammy Hagar

Lita Ford, Eddie, Ann Wilson, and Nancy Wilson

Eddie and photographer Ron Akiyama

Eddie, Johnny Depp, Don Jamieson, and Jim Florentine

Eddie and Jake E. Lee

Peter Baltes, Herman Frank, Wolf Hoffmann, and Udo Dirkschneider

When I think of the band Accept, the first thing that comes to mind are the riffs. Outside of Black Sabbath and maybe a few others, Accept—especially guitarist Wolf Hoffmann—is responsible for some of the catchiest and most brutally heavy guitar riffs in metal. These sonic assaults have formed the basis for some of the genre’s best moments and laid the foundation for the speed metal movement that Accept helped pioneer. The band is one of Germany’s greatest contributions to metal, and even though the band members are now all based in America, their sound retains a decidedly European feel: screaming, over-the-edge lead vocals, with menacing, chantlike backing vocals, and an anthemic, almost marching quality. Add in Hoffmann’s brilliant, fast-tempo playing that incorporates classical influences, and you have all the hallmarks of classic Accept.

PETER BALTES (BASS)

UDO DIRKSCHNEIDER (VOCALS)

HERMAN FRANK (GUITAR)

WOLF HOFFMANN (GUITAR)

STEFAN KAUFMANN (DRUMS)

MICHAEL CARTELLONE (DRUMS)

JÖRG FISCHER (GUITAR)

DAVID REECE (VOCALS)

STEFAN SCHWARZMANN (DRUMS)

MARK TORNILLO (VOCALS)

ACCEPT (1979)

I’M A REBEL (1980)

BREAKER (1981)

RESTLESS AND WILD (1982)

BALLS TO THE WALL (1983)

METAL HEART (1985)

RUSSIAN ROULETTE (1986)

EAT THE HEAT (1989)

OBJECTION OVERRULED (1993)

DEATH ROW (1994)

PREDATOR (1996)

BLOOD OF THE NATIONS (2010)

STALINGRAD (2012)

Mark Tornillo and Wolf Hoffmann

Accept’s earliest history dates back to Germany in the late 1960s. However, the core lineup of Hoffmann, vocalist Udo Dirkschneider, and bassist Peter Baltes didn’t truly come together until the mid-1970s. The band’s self-titled debut album, released in 1979, went largely unnoticed in America. The follow-up was 1980’s I’m a Rebel, whose title track became the band’s first minor hit. The song was actually written for AC/DC by Alex Young, brother of Malcolm and Angus Young. When AC/DC passed on it, Accept grabbed it, understanding the anthemic potential of the song’s spirit and message. The huge sing-along chorus became somewhat of a rallying cry for Accept’s growing fan base. I’m a Rebel was a breakthrough for the band in Europe and put them on the map for the first time in the United States. The album also showed a band that was maturing, both as players and as writers, with progressively heavier and even more aggressive songs, as well as better production.

The following year’s Breaker was another step forward, angrier and again even more forceful than I’m a Rebel. For proof of this, look no further than the track Son of a Bitch. You can almost feel Accept screaming for attention from metal fans, demanding to be heard, and it all set the stage for what many feel to be one of the band’s greatest works: 1982’s Restless and Wild. By the time this album was released, Accept had been through the ups and downs of the business, done a great deal of touring, and fully developed their sound and image. Instead of worrying about radio play and commercial hits, they did what they do best: play huge, riff-based, uncompromising METAL. Restless and Wild’s first track, Fast as a Shark, is often called one of the first-ever speed metal songs. It opens with the sound of a needle dropping on a crackling vinyl album and then moves to a very non-metal-sounding polka, before slowing down and slamming into Udo’s scream of agony, a slashing guitar riff, and double-barrel bass drums. I always love when people hear Fast as a Shark for the first time. The look of horror on metal fans’ faces during the first twenty seconds, before the song actually kicks in, is hysterical. Now, of course, this intro is such an iconic metal moment that fans often sing along with the Hi-de, hi-do, hi-da from the opening. With Restless and Wild, Accept made a defining metal statement. Metallica’s first album had yet to come out, so the early roots of thrash can be traced back to this landmark album.

In 1983, Accept finally made their mark in America with the release of Balls to the Wall. It featured the best production yet on an Accept album—a bit slicker but still retaining their trademark heaviness. Like Restless and Wild, Balls to the Wall was produced by Dieter Dierks, who was known for his work with another legendary German heavy rock band, Scorpions. Dierks had helped Scorpions to finally crack America after more than a decade, and he helped Accept to do the same. While Balls to the Wall’s songs aren’t as fast as some of the material on the previous album, they do feature some of Hoffmann’s biggest and catchiest riffs. Finding a way to stay heavy but also be accessible is a tricky tightrope to walk for most metal bands, and Accept delivers that balance perfectly on Balls to the Wall, an album that still sounds amazing today from a production standpoint. The album’s title track is without question Accept’s all-time biggest hit. The video was a regular on MTV, and anyone who has seen it can’t forget the diminutive Udo growling into the camera in a camouflage outfit and riding a wrecking ball at the clip’s end. Turn Me On was another favorite from the album, and played often over the PA at the metal clubs I would hang out in. Accept was suddenly embraced on a large scale in America, which was finally ready for its heavy assault, and it led to touring opportunities that included a bunch of dates supporting Kiss. I saw many of these shows, and I can tell you there were many nights that Accept was a hard act to follow.

Metal Heart was released in 1985, and its title track also became an Accept classic, that to this day is a set opener on many tours. Other songs from this album, like Midnight Mover, got some serious airplay. However, Screaming for a Love-Bite saw Accept drift into too-commercial territory for their denim-and-leather fan base. With 1986’s Russian Roulette they tried to get back to a more aggressive sound, but it just wasn’t clicking, and to many metal fans, Accept’s moment was over. By now fans looking for heavier music were immersed in Metallica, Anthrax, and Megadeth, and Accept fell through the cracks.

In 1987 Udo announced he was leaving Accept to pursue a solo career. Oddly, the band endorsed his decision, perhaps thinking that a new American singer would help win over U.S. fans again. Accept’s first non-Udo album was 1989’s Eat the Heat, with American David Reece on vocals. It simply did not work. Udo’s gravelly voice was a huge part of the Accept sound, and the new material wasn’t the band’s best. After their short tour with W.A.S.P., Reece was dismissed, and Accept drifted away from the scene completely. The band relaunched for a few years when Udo returned to the fold in 1993, but by then musical tastes in America were very much away from the metal scene, and the three new albums Accept made with their original singer were largely ignored and barely released in America. In the mid-2000s, though, the quality of metal that Accept had made at their height started to take on a new status with metal fans, and there seemed to be genuine demand for Accept. By now fans were missing Accept, so in 2005 the band launched again, with core members Dirkschneider, Baltes, and Hoffmann on board for a run of live dates at European festivals. Reviews were stellar, leading to what many thought would be a new Accept album and more extensive live shows. But unfortunately that never happened. Udo stunned metal fans everywhere when he declined to continue working with Accept and instead chose to continue with his own group, U.D.O. Again, Accept fell back into obscurity.

It was in 2009 that I got a call from an old friend from New Jersey named Mark Tornillo, who was the singer for the legendary Jersey band T.T. Quick. The band had released a true underground classic on their own in 1986 called Metal of Honor but failed to break on a national level. I was an early supporter and had remained good friends with Mark over the years. He was now working as a union electrician and singing in some cover bands on the Jersey club scene for fun. Mark told me he had recently been contacted to go and jam with Peter and Wolf from Accept, who were now based in America and hoping to give the band another go without their iconic lead singer, who still refused to participate. I was truly excited for Mark, who is a great guy and a talented musician, with a vocal quality that was perfect for Accept. Weeks later, Mark came by my house, popped in a CD, and asked me to have a listen. It was him, with Accept, singing not only Udo’s material but also killer brand-new music! I was blown away. I had to keep quiet about everything for a bit, but Mark assured me that I would be in on the ground floor and be able to break the news on the band, play their new music first, and present their first-ever live show. Things moved quickly, and true to their word, on May 8, 2010, I had the honor of introducing Accept for their first live show at a sold-out Gramercy Theatre in New York City with my old friend Mark Tornillo on vocals. Some fans were skeptical of Accept trying again without Udo, and with an American singer, but all were silenced by what went down that night. The band attacked the stage with a newfound energy and swagger. Mark gave his all to the classics and the gravel-throated growls and screams that many wondered if Udo could even muster any longer.

Udo Dirkschneider and Wolf Hoffmann

Peter Baltes, Eddie, and Wolf Hoffmann

The icing on the cake that truly solidified this new union was the band’s first album with Mark on board. Blood of the Nations was released in September 2010 and is a modern-day metal masterpiece. For the first time since Balls to the Wall, Wolf’s riffs are on par with the band’s classic moments, and Mark’s vocals and writing are a perfect blend. We named Blood of the Nations album of the year on That Metal Show. It was that great. Worldwide touring ensued, and Accept’s European fans, at first skeptical of