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Carmine Appice began his professional music career in the mid-1960s and was the drummer for Vanilla Fudge for five albums. After that, he formed the blues rock band Cactus with Tim Bogert, and they released four albums. Appice and Bogert joined with Jeff Beck for one studio album when Beck, Bogert & Appice was released in 1973. Since that time, he has been involved in a myriad of music projects, touring with everyone from Rod Stewart to Ozzy Osbourne, and has produced dozens of albums. In 2006, he resurrected Cactus with two other former members, but over the years, Carmine has been the only one who has survived, and he’s still pushing forward at the age of 79, which is impressive.

Blues Rock Review’s Bob Gersztyn spoke with Carmine Appice about his new album Temple of the Blues II and more.

Over half the songs on Temple of Blues II are Willie Dixon and Howlin’ Wolf covers, why did you include them all?

Well, because we did the first couple of blues songs, and what we did there was all the Cactus songs, so when I looked at the Cactus songs that were left, I had three that were on an album that I always loved when we did it in ’72 or ’71, whenever it was (Restrictions 1971). We did a song called “Evil” off this album called Howlin’ Wolf’s Electric Album, which was given to me by Jeff Beck, and Jimmy Page gave it to Jeff Beck. We all took stuff from those albums and made it our own. So, you know what? They had so many cool drum grooves on there, so many cool songs and classic songs, but they sounded different than just straight-ahead grooves, and all the grooves are different, and it was interesting. So I did the record core with seven of those songs and then the one with Melanie, and that would make it eleven songs, and that’s what the label wanted for the CD. They wanted ten songs for the LP album and eleven for the CD, so it came out just right. I always loved her songs, I always loved those arrangements, so like we did with Cactus’s arrangement of “Evil,” we kept those arrangements, and what we made at the time is weak now, but people still listen to it with bands like The Dead Daisies, who took “Evil” and did their own versions of it. So we came to the conclusion, let’s do these songs, and since it’s called Temple of Blues II, we did seven blues songs, and maybe this time the Grammys won’t put me in the same position as they did last time, when they put me in the album-oriented category, the same category as Taylor Swift. So now it’s blues, except for three songs.

What year did you record “Purple Haze” with Melanie?

That was done last year, right after the time that we did the first album. Cleopatra Records’ Brian Turner, the owner, gained the right from her estate to use her vocals, to use recordings or whatever, and he came up with this idea, because he had vocals of her doing “Purple Haze.” I’d love to have her captured singing “Purple Haze.” So he played me the recording, and I said, “That’s her?” I said, “That’s a long ways from the roller skates era.” When I heard her scream, it sounded like Janis Joplin, so it was very awesome. So he said, “Do you think that you can do that?” And I said, “Sure,” so he gave it to me as co-producer. He gave me a clip of her vocals, and I listened to it and put drums to it the way that I thought drums should go with it. I ran through it with the drums basically, and then the whole album was done like that. I started with the drums first, and then I gave it to the guitar player, Artie Dillon, who played on it, and then I gave it to Tony Franklin, who’s been in and out of Cactus, to add bass, and we came up with the arrangement that fit the vocals perfectly. I’m very happy with it. I said we should put that on as the next track of the album.

Do you know what year she recorded it?

I do not, but it’s only acoustic guitar and a couple of guys in the background.

What is one of your best memories from your Vanilla Fudge days?

Did you meet me or something?

No, I remember listening to the album back when I was in the army back in 1967 or 1968, and it was one of my favorite albums, along with the Rolling Stones’ Their Satanic Majesties Request.

Which album are you talking about?

It was the one with “You Keep Me Hanging On.”

In those days, that was everybody’s album, fortunately for us. Those were amazing times because everything was new. We had the first top 10 album, top 4 album on Billboard and Cashbox without having a hit single, but the album, when it came out, was #80, but the album shot up the charts to #4. It was powered by “You Keep Me Hanging On,” but the single version is like two and a half minutes, so you really don’t hear the whole thing. That was an amazing time, and we recorded “You Keep Me Hanging On” in one take, and I say now that it was seven minutes that changed my life.

It’s been nearly 60 years since the Haight-Ashbury Summer of Love and Woodstock; how do you feel and what do you think about it all in retrospect?

I know what ruined our career (Vanilla Fudge). It was that second album in retrospect, The Beat Goes On. That was a horrible album. It was an idea of the label because we didn’t know what was going on, we were just kids. Our first album was in the Top 10, and we said, “Let’s do what they want, they know what they’re doing,” and they didn’t know what they were doing. They had this whole concept album, and it was done after ten hours, and that was the second album. The music on it is bad, and if you ever heard it, you know what I’m talking about. That concept album should have never been done. That is my biggest regret about my career.

What do you think about the music industry today as compared to when you first began your career?

It’s terrible.

Why is that?

Because you’ve got Spotify and all of that stuff, so nobody makes any money out of it. You say to the audience, for ten bucks now you get to hear whatever you want whenever you want, but as far as we go, we make no money. We make .003 cents every time someone listens to a song. Do you know how many it takes to make any serious money? Fifty million to make any money.

So then is all the money in touring?

All the money is in touring, that’s why all the ticket prices are so damn much, because nobody makes any money anymore on the record.

So then that’s the reason why Bruce Springsteen and Taylor Swift are charging thousands of dollars for a good seat at their shows?

I would think so, but I don’t know why they’re doing it. I played with Rod Stewart for seven years, and when I played with him, the good tickets were $45.00–$65.00. Now Rod’s seats are a thousand bucks. People pay it. I don’t know where people get the money to do that. Ten thousand people, and the seats all the way in the back are probably $300.00, and that’s all the way in the back.

I was wondering how you are able to continue to have the stamina and energy to continue to play the drums like you do?

I’m not an animal like I used to be, but I learned how to hit it hard without having to lift your arm up without killing yourself. That’s like a karate chop. When I’m looking at myself when I was young and I’m playing with my arms flying all over the place, I don’t do that anymore. Look at the video of me, and it’s more technical with the blues, but I made my mark, so I think it’s still going. I don’t play like I used to play years ago.

It still sounds impressive on the album.

I know how to get a great killer drum sound, a very emotional kind of drum sound. On records, no matter who’s playing or what style of music, the drums are the foundation.

How did you choose the people who played on Temple of Blues II?

Basically, even in blues, what I like about these tracks is the drums are so interesting, so cool. I like the track we did with Eric Gales (“Backdoor Man PT 1 & 2”). I was happy that he said that he would do this, and we did just the regular da, da – da, da kind of thing, and then I stopped and we ended, and then we did up-tempo, and I did it because I like to hear Eric really wail on that up-tempo. He played amazing, he’s amazing on the chops, and when we went up-tempo it gave everybody a chance to shine.

Is there any story out of your entire career that impresses you that you would like to share?

When we were doing the Ed Sullivan Show (Vanilla Fudge), we were down by the elevator, and they had people running the elevator, and before we hit the stage, I asked this guy how many people watch this show. He says, “Oh, about fifty million,” and my stomach started turning from my nerves, and I said, “Wow!” Another really impressive story is from when I was with Rod Stewart and we played six nights at the Forum. Everybody came to see Rod, and one day it was Gregory Peck and Fred Astaire. So we went to a party, and after I pull up and I’m walking in, I see a big guy walking over to me. It was Gregory Peck, and he says, “I saw you at the Forum, and I was with Fred Astaire, and they liked my drum solo.” He said that was the best drum solo he’s seen since Gene Krupa, and I said, “Wow!” And I’m thinking Gregory Peck is telling me this. He said he wants to learn to play, and I wrote a book (“The Realistic Rock Drum Method”), and he wanted one and said give it to Fred, who lived right next door to Rod Stewart. On the way to rehearsal, I walk up to Fred’s house, and I give him my book, and I wrote in it, “To Gregory: I hope this book helps you, I’ve always loved your work. Love, Carmine Appice.” I got a letter from Abel Production, and I open it up, and it’s a letter from Fred Astaire. It said, “Thank you for the book, it’s a lovely message inside. I’ve enjoyed your work many times, keep it up. Love, Fred Astaire.” A claim from Hollywood royalty, and it was pretty amazing. I’ve had an amazing career, being able to influence people, and there are a lot of perks in the business. I was the first to do the fast double bass drum shuffle and a lot of that kind of stuff through my life. Meeting my idol Buddy Rich, and the list goes on and on. I put together Carmine Appice guitar groups where I had every major guitar player, and I was the first drummer to do that. I was the first drummer to do an album like Temple of Blues I and Temple of Blues II. I’ve been lucky, I’ve had a great life playing, and I’m glad I’m still here playing. A lot of my friends are gone, like John Bonham, Mitch Mitchell, Keith Moon, and Ginger Baker.

Are you going to be going out on tour any time soon?

Well, yeah, I tour with my rock show all the time, and we’ve still got the Minneapolis area, and I’m trying to get down here in Florida(…) I’ve got Vanilla Fudge shows in April and another charitable rock show in May, and we’re going to do some Cactus All Stars shows in July. So yeah, I’m still playing, not like I used to. I don’t like to go on tour two months at a time, it’s too difficult. When I toured with Rod, we did that for two or three months, and he travels with his own doctor, and his whole family goes with him. If you can’t travel like that, you travel for two or three days. I went to Nashville, then I went to Minnesota and back to Nashville, and then back home, and I was away for five days. That I can take, but to do it for a month, forget about it.

Where do you live?

I live in Florida. I lived in California for 40 years after I left New York, and I don’t particularly like New York because I don’t particularly like snow. We were very lucky because when we played with my rock show, we played the week before when there was nice weather, and then they had snow everywhere in the Midwest, there were blizzards there, and then we played Philadelphia and Chicago with my rock show, and luckily it was beautiful weather. Then the next week we played Myrtle Beach with the Rock Show, and right after we left the Midwest it started snowing again. We were so lucky because that’s the worst you can get, because you’re driving in a van or whatever and you hit a blizzard, forget it, it’s terrible. So we were very lucky. Now next we’ll be in Chicago April 1 & 3, Florida, and then we play the next one in Illinois somewhere. It goes on, and I’m busy, but I only go out for five days. I don’t do long tours anymore where you sleep on the bus and you never get good sleep. I’m really happy the way that we’re doing it. I built my career enough where I really don’t have to do it, but I love to do it.

Thank you for taking the time to talk to me. I enjoyed the album and understand the blizzard issue since I grew up in Michigan.

The post Carmine Appice Interview appeared first on Blues Rock Review.

With “Foot Off,” CROBOT doubles down on the groove that made them dangerous in the first place. The track plows forward on a bluesy bone tingling riff and a chorus built to cut through the roar of a vintage American muscle car. It’s a full-throttle return to the band’s Dirty Groove Rock roots—raw, electrified, and impossible to ignore.

Hard rock powerhouse CROBOT is back with a thunderous new single, “Foot Off,” offering fans another taste of the band’s upcoming album Supermoon. Known for their signature blend of groove-heavy riffs, explosive energy, and undeniable swagger, CROBOT once again proves why they remain one of the most electrifying bands in modern rock.

“Foot Off” hits like a runaway freight train from the opening riff, combining crunchy guitar work, pounding drums, and the unmistakable powerhouse vocals of frontman Brandon Yeagley. The track delivers an adrenaline-fueled anthem built around the idea of pushing forward without hesitation—never slowing down and never taking your foot off the gas.

“Foot Off” puts us right back in the driver’s seat of charging our way through open highways at break neck speed with our destination set to our Dirty Groove Rock roots. This one is for the fans that have been with us from the beginning and fans that want to know exactly what we’re all about – still after 15 years of being a band.”  – Brandon Yeagley

“It’s somewhere between ZZ Top, Aerosmith, and Clutch. Right where I like to be baby. I’m happy we are back to funkin’. Ever since I was a wee little boy, that’s what’s always got my motor running.” – Bishop

Lyrically, the song channels themes of determination, rebellion, and relentless drive. It’s a track that captures CROBOT’S high-energy spirit while encouraging listeners to keep charging ahead no matter the obstacles in their path.

The post Dirty. Groove. Rock. Crobot Unleash High-Octane New Single “Foot Off” From Upcoming Album Supermoon appeared first on Antihero Magazine.

Geese enjoy doing covers. A couple of years ago, they recorded a rendition of Justin Bieber’s 2010 single “Baby,” and yesterday they happened to play their first-ever Coachella set on the same evening that Bieber headlined. To mark the occasion, Geese debuted a snippet of their “Baby” cover, working it into their 3D Country track “2122.”

The post Geese Make Coachella Debut With Justin Bieber Cover, Sabrina Carpenter Cheers Them On appeared first on Stereogum.

Website [Release date 27.03.26] From the opening bars of this song which is on the soulful side of southern rock, you can tell this is a band which gels. Every instrument compliments each other, and then the vocals of Robert … Continue reading →

The post Single review: ROBERT JON AND THE WRECK – Run Back To Me appeared first on Get Ready to ROCK!.

The post FOO FIGHTERS: New Single, “Of All People,” Out Now appeared first on INFRARED MAGAZINE.

Of all the discouraging and difficult elements contributing to people having appallingly bad taste not being into metal, the biggest sticking point has got to be the vocals. As inoffensive as we might find, for example, vintage Dave Vincent (Morbid Angel) or early Possessed, going all the way back to the genre roots, casual listeners find themselves appalled by what started out as gravely growls and has evolved into full retching and intestinal spew. While desensitization through repeated listens is the obvious solution, some bands solve the problem wholesale by eschewing vocals at all. I’ve been let down lately by some of my favorite genres, and while perusing the almost picked-clean promo pit, my eyes were caught by a bit of a rare tag around these parts: “Instrumental black metal.” Osmium Gate have arrived with a platter devoid of any vocals, a curious name, and some gorgeous artwork to emphasize the atmospheres within. Let’s strap in for a carnivorous adventure!

Cannibal Universe is a melodic release, heavy on atmosphere and beauty filtered through the requisite heavy sheen. Though ostensibly described as black metal, the overall production and tone sidesteps fuzzed-out tropes or crystalline polish with a sound more reminiscent of modern death metal but utilizing black metal composition techniques. This imparts a thicker flavor to the requite snare-and-bass trem heavy riffing (“Booming Dunes”, “Blood Rain”) while adding extra brass knuckles to some atypically chug-heavy movements (“Waters of Natron”). A heavy focus on sustained open chords for big mood and pathos is a major tool in Osmium Gate’s wheelhouse, with slower, emptier sections that feel tailor-made for amphitheater reverb rather than the blistering assault typically found in blackened wares.

Instrumental music needs to have a dollop of “busyness” to justify the lack of vocals, and at their best Osmium Gate have the chops to get the job done. “Sailing Stone” features a fantastic spot of noodlage where a lead runs interlocked with a separate rhythm for a full and complex emotive experience. Cannibal Universe spots a decent amount of such highlights, where fun leads and overlapping time signatures summon the spirit of Scale the Summit or Plini. Fret not, the occasional thunderous blast or vintage Intervals chug is never far away to remind you that there’s nothing “post” about this album. Title track “Cannibal Universe” throws everything into the kitchen sink, sculpting doom-tempo’d plods into an avalanche of chord progressions which immediately scale back into a dollop of Odious Mortem melody with infinitely better production. But the real climax comes in mid-album cut “Nacreous.” This is the jewel of the album, running a wistful, melancholic lead under blast beats, which are worked in more atmospheric conjuncture with the slow-moving melodies. Such a highlight is an easy contender for song of the year, channeling genuine catharsis and summoning up enough feelings to bring some mist to even Tyme‘s crusty, battle-hardened eyes.

It may be a strange critique given the genre, but the only real stumbling block facing Osmium Gate is that not all the songs warrant an instrumental presentation. There’s no cut across this album that is bad, and much that is quite enjoyable, perfect for stargazing or late-night drives under the moon. But the band’s insistence on using large open chord structures across the album leaves a great deal of unbusy, open space where I found myself instinctively expecting vocal lines to fill the void. These particular cuts (“Waters of Natron”) aren’t definitively poor in any real sense as much as feeling incomplete, with the chord structures telling a partial story and lacking a sense of fullness elsewhere in the album. Bands like Animals As Leaders and their ilk nail the instrumental presentation by ushering the listener from one passage to the next without leaving any space for extra flair, where literally and metaphorically the music does all the talking. Here, Osmium Gate make real effort and grasp the goal more than once, but not consistently across the album. Tellingly, the tracks that throw off such restrictions are the least traditionally black metal sounding, as it’s when the songs sound the most typical that they sound the most unfinished.

Still, I’ve enjoyed my time with Cannibal Universe as a nice detour from my usual brutal and blackened fare. There’s genuine chops and promise here, and you owe it to yourself to at least listen to “Nacreous”. Osmium Gate have offered up a delicious platter of melodic black metal with limitations entirely surmountable. I’m not necessarily encouraging them to go out and get a vocalist (though I have no doubt they’d be capable of making a good album with one), but to push their songwriting to match the highlights here across an entire platter. Nevertheless, this album has moments worthy of note and any lover of instrumental metal should find something worthy of interest to be devoured…

Rating: 3.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Self-Release
Websites: Album Bandcamp
Releases Worldwide: March 13th 2025

The post Osmium Gate – Cannibal Universe Review appeared first on Angry Metal Guy.