Italy-based label Frontiers Records released two of 2011′s awesomest glam metal records, Sebastian Bach’s surprising Kicking And Screaming and Forevermore by Whitesnake, one of this year’s very very awesomest (read here). So Frontiers was already hot when two Tuesdays ago Beggars & Thieves’ new record We Are The Brokenhearted came out. The jam I heard was sweet and holy fucking shit that’s Jake E. Lee doing the solo and and AND appearing in the funny “Right Now”-style video (above at 2:17, with cameos from members of Slaughter, King Kobra, Kiss, Keel, plus a lady with huge jammerz and Kevin Churko).

Lee’s appearance in the video falls in line with recent rumors of an imminent-ish return from near-invisibility with a new project, which is an exciting prospect turned mega-exciting by his great performance on this B&T song and his seeming good health. I’m always begging anybody who has ever been in Lee’s proximity for contact info and it looks like the B&T team is next on my list. Which is a relief in a way cuz I was contemplating asking Paul Gilbert to introduce me to his Racer X bandmate and onetime Badlands drummer Jeff Martin in hope that he has Lee’s number. That sounds like a longshot but it’s not even close to my most desperate gambit so far for an interview with the dude. Jake CALL ME.

-ADF

Get Beggars & Thieves’ new album We Are The Brokenhearted here.

I tried to land an interview with Slash when his solo album came out, but, alas, it was not to be. (Must be ’cause of all the nice things I’ve said about him over the past couple of years.) But one of the things I wanted to ask him about were how involved, or uninvolved, he was with the lyrics on the album. Each song is sung by a different celebrity singer who would be perfectly capable of writing his or her own lyrics, and the few times Slash has tried to lyrics, the results have been pretty disastrous. (Remember “Be the Ball,” the Slash’s Snakepit song about pinball? Yeah, no reason you would, but did I mention it’s about fucking pinball?) But the lyrics to at least one song in particular – the Ozzy-crooned “Crucify the Dead” – seemed so Slash-specific, I thought he might have had a hand in them.

See, “Crucify the Dead” features such lyrics as “Your ego cursed you till you bled,” “Decisions past leave you alone,” “Someday you look back and you wonder why you let it all slip away,” and a reference to – CAPTAIN OBVIOUS ALERT! – “A loaded gun jammed by a rose.” So, y’know. It seemed pretty clear that the song was aimed at one of Slash’s former collaborators. And I don’t mean Rod Jackson.

Well, Ozzy has answered my question – kind of – in a recent interview with VH1 Radio:

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We’ve been wondering for a long time if Gus G. was actually gonna get to write anything for Ozzy Osbourne’s new offering, Scream, or if he was basically just a session player; we knew he came in fairly late in the process since Zakk Wylde had already done a bunch of recording for the album, but we hoped against hope that Gus would actually get to do something a little more substantial. The problem with the last however many Ozzy albums has been lackluster songwriting, and that hasn’t really been a problem for Firewind; it seemed like Gus could be just the shot of adrenaline Ozzy needed to pull a Megadeth and remind us all why we ever loved him so much in the first place.

But now Blabbermouth is exclusively hosting an EPK (that’s “electronic press kit,” in case ya don’t know) for Scream, and it contains the following quote regarding the song “Soul Sucker” from producer Kevin Churko:

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Ever seen Woody Allen’s Zelig? It’s a pseudo-documentary about a guy who immediately assumes the traits of whomever he’s with at the moment; put him in a room full of Chinese people and he’ll turn into a Chinese man, move him to a room full of Hasidim and he’ll suddenly appear to be Hasidic, and so on and so forth. It’s a(n obvious but still pretty funny) metaphor for a guy with no personality of his own.

Now, consider Slash. Guns N’ Roses folklore tells us that Slash is not the best judge of his own material, and often wanted to scrap some of Guns’ best songs; and, unfortunately, evidence suggests that this folklore is fact, and that Slash is a pretty ho-hum songwriter. Axl Rose has his legitimate insanity and over-sized, not entirely comprehensible artistic vision, but all Slash really seems to have is a desire to be like his heroes in Aerosmith and AC/DC, which is to say, a legacy act and purveyor of catchy but fairly middle-of-the-road rock. Consequently, a lot of the pressure on Slash-penned songs in the post-GN’R era is not just on the guitar playing of the Artist Formerly Known as Saul Hudson, but on the performances of whatever singer he’s working with at any given moment. Slash songs can be like underwritten roles in movies that way; you need the best character actors available to give them some personality, or they risk becoming boring.

Slash has personality (or at least persona) to burn, and it’s no shock that on Slash, his first solo record, he keeps up his up his end of the bargain in the guitar solo department. Despite the fact that he was never a revolutionary musician, Slash was always a very distinctive musician; a lot of people play the way he does, but no one sounds quite like him. But it is kind of a shock that on this, the album which is supposed to be a distinct and unique artistic statement outside the confines of his collaborations with various bands, Slash has very much allowed himself, like Zelig, to blend in with whomever was in the room at the moment.

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Here’s something else Zakk Wylde can hear about for the first time over the internet.

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Just about a year ago I took it upon myself to offer Ozzy Osbourne five tips to record a good album again. And my very first tip?

FIRE ZAKK WYLDE. I’ve made this suggestion before, and I know it’s a controversial one; Zakk is, undeniably, the best guitar player Ozzy has worked with since Randy Rhodes’ untimely passing. And at his best, Zakk is a brilliant, brilliant guitar player. Unfortunately, somewhere along the way, Zakk seems to have decided that he needs to release every semi-coherent riff that pops into his beer-soaked brain. If Zakk can’t or isn’t willing to work his ass off like he was 19 again, step up to the plate, and knock one out of the park, it’s time to explore other options. Ozzy could comb the known world looking for the next Zakk Wylde – lest we forget, Zakk was just some unknown teenager when Ozzy originally discovered him – or, if that’s too risky, I’m sure there’s only about 18 trillion famous axe masters (How about Jerry Cantrell? Pepper Keenan? Ozzy’s already got one former member of Faith No More in his ranks – maybe he can steal Jim Martin away from his pumpkin farm? I know Ozzy almost hired Buckethead a few years back) who would be willing to give the job their best shot.

And, hey, lookit that! Ozzy has revealed to Classic Rock magazine that he is, indeed, parting ways with Wylde.

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When the excellent line-up for this year’s Rockstar Energy Mayhem Festival was announced last month, we wondered: who would be left for Ozzfest? It’s not like there’s ever gonna be a shortage of excellent bands to play the tour, but in terms of “namier” acts that were actually going to be touring, it seemed as though most of them had made other plans.

Well, now we have an answer: there isn’t gonna be an Ozzfest in ’09.

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So Ozzy is apparently gonna make another record… and it seems like just yesterday that I listened to Black Rain once and decided I never needed to listen to it again. Since the Oz Man hasn’t really recorded anything worth anyone’s time since 1991′s No More Tears, I thought I’d offer my expertise (read: complete fucking arrogance) and make some suggestions to ensure that this new album doesn’t make me long for the day when I read the headline that Jack Osbourne finally offed his entire family.

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