Blog

Pix by Sarah Gilpin Photography APATE DREGG THE GLOOM IN THE CORNER KING 810

Former Megadeth bassist David Ellefson sat down with Argentine journalist and rock specialist Gustavo Olmedo on his podcast “Quemar Un Patrullero” for one of his more candid conversations yet — covering his complicated brotherhood with Dave Mustaine, the fallout over The Sick, The Dying… And The Dead!, and why he has no interest in re-engaging the fight.

Ellefson spoke warmly about the moments of genuine closeness he shared with Mustaine after rejoining the band in 2010.

“When I went back to Megadeth in 2010, [Dave and I] were close — we were really close. I was helping him with some personal things. He became a good friend to me during that time. So there were periods of closeness as men, as brothers. And I found those opportunities were always the best when it was just Dave and me, when there wasn’t another person in the room. We didn’t have to sort of be on stage performing for anyone. It was just me and him being brothers, [at] Starbucks drinking coffee, whatever. And those moments were genuine, they were sincere, they were heartfelt,” Ellefson said (as transcribed by Blabbermouth)

That closeness, however, had its limits. When the band began work on what became The Sick, The Dying… And The Dead!, Ellefson sensed the shift.

“[Dave] didn’t wanna use any of my music [for that record]. I could tell he resented me. He wanted me off that album. And I finally wrote a song [that was originally going to be included on it]. It was a ballad that I’ve kept, ’cause I had Kiko [Loureiro, then-Megadeth guitarist] play the guitar on it. And it was a very good song — I think an extremely good song that has a place somewhere. But it didn’t make the record.”

He went further, describing a specific collaboration that ended with his contributions stripped from the final product.

“Dave and I even had a really close moment. We were writing the lyrics for the song that became ‘Soldier On!’ He eventually took my lyrics off of it and then used the song without [my lyrical contributions]… He wrote the music — it was his song — but I was invited to write the lyrics for it, which I did. And he decided to call it ‘Soldier On!’ We collaborated from there, which I say, well, look, when Dave got fired from Metallica, at least they kept his words and his music and they paid him and gave him credit. Dave wasn’t so kind to me. He kicked me out, took my performances off the record, and took my lyrics and everything off the record. So I think I have a horse in that race when I speak about how properly Metallica handled things and how I think improperly things were handled on my behalf. ‘Cause I saw it; I lived it.”

For Ellefson, the real ending came years before his public dismissal. He considers the 2016 album Dystopia — and the Buenos Aires show in late 2017 — as his true farewell.

“My farewell with Megadeth was really in 2018. That was my farewell. That was my farewell tour. I feel like I played on the last great Megadeth record, which was [2016’s] Dystopia. Dave announced from the stage in Buenos Aires in November 2017, he said, ‘We’re gonna go home and start working on a new album.’ So I feel like that was kind of a good closure for me with Megadeth, which is why I’ve moved on and done so much other stuff. I don’t have bitterness in my heart. I almost feel like I was set free to not have to deal with that anymore. Whereas Dave had bitterness toward Metallica, I don’t have bitterness toward Dave or Megadeth. I really don’t.”

Ellefson also addressed his firing in May 2021, which came days after sexually explicit messages and video footage involving him were posted online. At the time, he denied any allegations of grooming and filed a police report in Scottsdale, Arizona, citing unlawful distribution of explicit imagery. He acknowledged exchanging messages with a Dutch woman he maintains was 19 at the time of their first virtual encounter, who recorded and shared footage without his knowledge.

His account of the phone call that ended his tenure in the band is blunt: “[The Megadeth camp] called me to fire me. And I told ’em, ‘Guys, there’s nothing here. There’s no reason to let me go. This is all just nonsense on the Internet. It’s all it is. It’s nothing at all. And I will maintain that position all along,’ and I have.”

“At some point, you could just keep going after people on the Internet and trolls and all this kind of shit. It’s endless. There is no Internet police, there’s no Internet human resources, where you can go and say, ‘Hey, this guy said this’ and ‘this person said this’, and da, da, da, because you should, because it’s highly defamatory. And defamation is when something harms your reputation, maybe even prevents you from getting more work. Those are real things. And the fact that it can happen on the Internet, which is kind of a fake place. It’s not even real. It’s kind of a fake place, yet that could somehow come over to your reality. I’m fortunate that the fanbase stood by me. They said, ‘Dude, that is bullshit. How dare you do that to Ellefson?’”

He also took issue with Mustaine‘s public statement at the time, which referenced “aspects of David‘s private life that he has kept to himself.”

“The statement that was put out, what Dave personally signed, was deflectionary, to kind of keep it away from him. And I said, ‘There’s nothing to keep away. There’s nothing here.’ I mean, my own legal team even said, ‘Hey, if you wanna open up on the Internet and blast that guy, you have our [blessing]’. And this is a top-level law firm in Phoenix, and they said, ‘We have never seen something so unconscionable’ as a legal word, meaning unconscious, not thinking, with no, basically, human heart. ‘You have our blessing.’

“There’s a Bible scripture. It says, ‘Resist the devil, and he will flee from you.’ And that’s where I went with it. I said, ‘I could tangle with this guy again, and I could fight with this guy as I did with the lawsuit,’ which I had every right to do, given what happened then. And Dave did not win the lawsuit. We settled out of court. That was another one. It was just another opportunity to try to kick me. And it’s, like, no, we settled out of court. And I ended up in a far better position than had I not done that, so I’m glad I went through that process, as horrible as it was.”

That 2004 lawsuit — in which Ellefson sought $18.5 million from Mustaine, alleging he was shortchanged on profits and denied ownership of Megadeth Inc. after the band dissolved in 2002 — was eventually dismissed, clearing the path for his return in 2010.

More recently, Mustaine told SiriusXM’s “Trunk Nation With Eddie Trunk” that a farewell tour reunion featuring all surviving former members was off the table “because of the behavior of one of the band members in the past.” Ellefson made clear he considers that a veiled shot at him — and he has no patience for it.

“To have it end where it did, and then [for Mustaine] even recently to say, ‘Oh, because of what one person did, I can’t bring anyone back.’ You know what? F*ck off. Just f*ck off. Who is that one person? It wasn’t me, ’cause I didn’t do anything that would prevent me from coming back at all. At all. And so this sort of deflectionary thing, to sort of get on some moral high ground, it’s, like, gimme a break. Really? And look, I had rock stars much bigger than Dave coming to my side and coming to my aid, standing by me, saying, ‘Man, just let me know if you need anything at all. That’s really fucked up.’ It’s fucked up about how I was handled being discarded. People saying, ‘I’m really disappointed that they chose business over brotherhood,’ ’cause at the end of the day, the brotherhood will always last beyond the business of owning a rock band — especially something we started and built together.”

Ellefson closed with a line that sums up where he stands: “So, with that said, at one level, again, I could call a lawyer, I could go back into defamation lawsuits, and I have every right to — trust me. But at the same time, there are two ways to win in tug of war. I either pull you over the line or I just drop the rope and let you fall on your ass. [Laughs] And that’s what I’ve chosen to do — drop the rope. Drop the rock.”

The post DAVID ELLEFSON Fires Back At DAVE MUSTAINE Over ‘Past Behavior’ Remarks: “F*ck Off. Who Is That One Person? It Wasn’t Me” appeared first on Sonic Perspectives.

You’ll all have heard opener and title track ‘Reckless’ and if you’re a fan of the team up between Danny from Crazy Lixx and Chez’ take on 80’s Melodic Hard Rock then this is a release that is hard to fault. The title track itself is so cool it even gets away with an elongated sax solo, and not many could get away with that even back in the day (me I love a nice sax break).

The question is of course can it top 2022’s ‘Powerzone’? Well after repeated listens over a long hot weekend when we wore nothing but spandex and leg warmers I have to say it can… So after that rather fine opening ‘Personal Rock N’ Roll; sidles in nice and spirited, capturing the feel of Benatar and the sheen of  Loverboy. It’s the sort of song that  just underlines how uplifting 80’s style rock can be.

‘Night Of Passion’ has more of a disco beat and instantly more synth, it’s a song that initially loses me for a while, there’s plenty of dynamics but they’re a bit all over the place until the huge chorus. I do have to say that this one is a definite grower, and whilst definitely not one of my favorites here, even after repeated listens. It’s a little more Pop than I expected and probably the only one I can’t picture played live.  

We’re back to rocking with : ‘Strip Me Down’ a real driving rocker that has a touch of Def Leppard in the lyrics, well if Joe was paid for maximum double-entendres amplified to 11. It’s a great overblown song and one you’ll definitely come rushing back to. There’s a bit of Cheap Trick in the mix and a wonderful relentlessness that works so well.  

‘Tongue Of Love’ is a demi-ballad that if anything reaches too far, it’s slow and steady, chocked with funked up bass and brimming with solos. II’s very, very 80’s all leg warmers and lounging back on the front of a Jag with huge windswept hair absolutely mandatory. I do have to say that the keys here are wonderfully evocative. It’s the sort of song that feels like a completely guilty pleasure 

Half way in, as they say, and sure we’ve had some cheese but the good news is that we’ve now raided the fridge, and all there was in the fridge was more cheese. Now as a cheese lover I’m over the moon…

Side 2, if you will, opens with the subtlety-titled catsuit stomper ‘Love Tornado’ it’s a song so madly OTT and 80’s that for a minute you find yourself thinking this is just the sort of song that led to us having to endure the 90’s. It’s the sort of fun that only happened pre-grunge. Sure the lyrics are wonderfully silly, but the thrust is inescapable. It’s the sort of title that when you look at the album cover of ‘Reckless’ you immediately wish they’d been brave (or crazy) enough to call it ‘Love Tornado’…

‘Bad Girl’ has a cracking opening and plenty of bluster with a nice familiar feeling and cracking chorus to this meat and potatoes rocker; whilst ‘Street Survivor’ on the other hand brings the tempo down and comes as a real standout AOR anthem which you could just imagine Sam Fox dueting with Cher on! Just the sort of song that would have been huge if we could step back in time. 

The album closes out with another two bangers. ‘Too Dangerous’  is another favourite – a real Danny Rexon gem, remniscent of high energy Melodic Rockers like Danger Danger from back in the day, with my favourite hook an the album! We close album number three with ‘Bodyrock’ which doubles down – another real huge-chorused AOR gem. This is definitely a record that leaves the best till last. Those closers could be two of my favourites from Chez Kane so far!

Forget your cares, shut out the shit going on in the world today, and fall back into the comforting arms of an 80’s huge haired weekend!

The press for this one says: “Chez Kane is back with her third studio album, “Reckless” – an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower.” For me it’s her best yet – this should sound great live.

Turn it up loud till the dial falls off!

8.5 / 10

 

“Reckless” Tracklist:

1.    Reckless | 2.    Personal Rock N’ Roll | 3.    Night Of Passion | 4.    Strip Me Down | 5.    Tongue Of Love | 6.    Love Tornado | 7.    Bad Girl | 8.    Street Survivor | 9.    Too Dangerous | 10.    Bodyrock

Follow CHEZ KANE:
Website
Facebook
Instagram
X

The post ALBUM REVIEW: Chez Kane – Reckless appeared first on The Rockpit.

Gene Simmons seems to think being apolitical in the public eye is the way to go, despite art being an inherently political medium.

The post GENE SIMMONS: "Do Your Art And Shut Up" appeared first on Metal Injection.

Horses for courses

Sydney’s Dark Rock/Metalcore Outfit Wicked Envy are back and heavier than ever with the release of their blistering new single and music video called Hyde. Enticing you with dark, theatrical antics, soaring riffs, with enduring vocals and captivating melodies that you can’t help but obsess over. Wicked Envy draw influence from the likes of In […]

Hey, it’s another Animal Collective spinoff! Just a month and a half ago, Brian Weitz, better known as Geologist, became the last member of AnCo to put out a solo album when he released Can I Get A Pack Of Camel Lights? Now, Geologist has teamed up with his longtime bandmate Avey Tare, known to…

The post Animal Collective Members Launch New Side Project Croz Boyce appeared first on Stereogum.

Modern Metalcore powerhouse THE NARRATOR have released a video for their brand new single Two Lives from their upcoming sophomore album, Phosphor. Two Lives kicks off with melodic hooks and a captivating chorus, building up to a hulk-like metalcore finale. The song captures the emotional turmoil of a generation that feels caught between two worlds, […]

Blues rock has always thrived on musicians willing to stretch the boundaries of what the guitar can do. Rooted in the traditions of the blues yet fueled by the power of rock, the genre has often been defined by players who refuse to stay within established lines. Throughout its history, certain guitarists arrived with ideas, tones, and techniques that seemed years ahead of their contemporaries.

These players didn’t just master the language of blues rock. They expanded it. Some introduced new sounds and technologies that reshaped the instrument itself. Others approached phrasing, improvisation, or musical structure in ways that opened new creative possibilities for the genre.

What connects them all is a sense of vision. Their playing felt different from the moment it was first heard, and the impact of their ideas continues to echo through generations of blues rock musicians.

Jimi Hendrix

Few guitarists altered the course of blues-based music as dramatically as Jimi Hendrix. When he emerged in the late 1960s, he fused electric blues with psychedelic rock, soul, and experimental sonic textures in a way that felt almost otherworldly at the time. Hendrix expanded the vocabulary of the guitar through feedback, distortion, and wah-wah pedal manipulation, transforming effects into expressive tools rather than simple gimmicks.

What truly set Hendrix apart was his ability to blend rhythm and lead guitar into one seamless style. In a trio format, he filled an enormous sonic space, weaving chordal rhythms, melodic lines, and explosive solos together simultaneously. Albums like Are You Experienced and Electric Ladyland showcased a guitarist who was not just pushing boundaries but redefining them entirely.

His influence on blues rock guitar remains immeasurable. Even decades later, countless players continue to explore the sonic territory Hendrix first opened.

Rory Gallagher

Rory Gallagher never chased trends, yet his music consistently felt fresh and adventurous. While some guitarists pursued slick studio production or arena-ready rock anthems, Gallagher focused on raw expression and musical authenticity. His playing blended blues, rock, folk, and Irish musical influences into a sound that felt deeply personal. Live recordings such as Irish Tour ’74 captured Gallagher at his most electrifying, delivering performances that could shift from delicate acoustic passages to searing electric solos without losing intensity.

Gallagher’s ability to cross musical boundaries while remaining grounded in the blues helped shape the broader roots-rock movement that would gain momentum years later.

Peter Green

Peter Green’s guitar style proved that power doesn’t always come from volume or speed. As the founder of the original Fleetwood Mac, Green helped define the British blues boom of the late 1960s, yet his playing stood apart from many of his contemporaries.

Where others pushed toward heavier amplification and faster solos, Green relied on phrasing, tone, and emotional nuance. His guitar lines often felt haunting and deeply human. Songs like “Albatross” demonstrated his remarkable sense of space and melody.

Green’s approach anticipated the expressive, feel-driven playing that many modern blues rock guitarists now strive for. His music reminds listeners that sometimes the most powerful note is the one played with restraint.

Jeff Beck

Throughout his long career, Jeff Beck constantly reinvented what the electric guitar could sound like. While he initially rose to prominence during the British blues explosion of the 1960s, Beck quickly moved beyond traditional blues rock structures.

One of his most groundbreaking innovations was his fingerstyle approach to the electric guitar. Rather than relying heavily on a pick, Beck used his fingers to manipulate tone, vibrato, and dynamics with remarkable precision. This allowed him to create sounds that often resembled a human voice. Beck also embraced experimentation with electronics, effects, and genre-blending long before it became common practice. His music drew from blues, jazz fusion, rock, and even electronic influences, making him one of the most forward-thinking guitarists the genre has ever produced.

Stevie Ray Vaughan

When Stevie Ray Vaughan exploded onto the scene in the early 1980s, blues rock was largely absent from mainstream radio. Vaughan’s arrival changed that almost overnight.

His playing combined the intensity of rock with the deep emotional roots of Texas and Chicago blues traditions. Massive tone, blistering speed, and ferocious energy defined his performances, yet beneath the technical brilliance was an unmistakable sense of feel.

Albums like Texas Flood reminded audiences that the blues could still feel dangerous and exciting. Vaughan’s influence sparked a revival of interest in blues-based guitar playing that continues to shape the genre today.

Eric Gales

Eric Gales has long stood out as one of the most distinctive voices in modern blues rock guitar. What makes his playing immediately recognizable is his unique approach to the instrument. Though naturally right-handed, Gales plays a right-handed guitar flipped upside down in a left-handed position, without restringing it. The unconventional setup forces him to rethink traditional fingerings and chord shapes, contributing to a style that feels entirely his own.

The Memphis-born guitarist first gained attention as a teenage prodigy in the early 1990s, but over the years he has continued to evolve into one of the most creative players in the genre. Gales blends blues, rock, funk, and soul influences into a fiery, improvisational style filled with fluid runs, expressive bends, and rhythmic phrasing that often feels more like a horn player than a guitarist.

In recent years, his impact has been recognized at the highest levels of the music industry. Gales has now received two Grammy nominations for his solo career, further solidifying his reputation as one of the most innovative guitarists working today. He also contributed to the soundtrack for the film Sinners, which went on to win two Grammy Awards.

What makes Eric Gales such a fitting inclusion among guitarists ahead of their time is not just his technical brilliance, but his refusal to approach the instrument in a conventional way. His upside-down playing style, fearless improvisation, and genre-blending sound continue to push blues rock guitar into new territory.

Derek Trucks

Derek Trucks represents a different kind of innovation within blues rock. Rather than simply amplifying traditional blues ideas, Trucks brought global influences into the genre in a remarkably natural way.

His slide guitar playing draws inspiration from Indian classical music, jazz improvisation, and gospel traditions. The result is a voice on the guitar that often feels more like singing than conventional soloing. Trucks frequently explores modal melodies and subtle microtonal bends, creating an emotional depth rarely heard in modern blues rock. His work has helped broaden the genre’s musical horizons while still honoring its roots.

Robin Trower

Robin Trower carved out a distinctive sonic world during the 1970s that still feels unique today. Deeply influenced by Hendrix yet entirely individual in tone, Trower developed a guitar style built on sustain, atmosphere, and expressive vibrato.

His album Bridge of Sighs introduced listeners to a hypnotic blend of blues, psychedelic textures, and powerful guitar tone. The music often feels immersive, almost cinematic, drawing listeners into its swirling soundscapes.

Trower demonstrated that blues rock could be both heavy and atmospheric, a combination that would influence countless players exploring the more psychedelic edges of the genre.

Johnny Winter

Johnny Winter brought a level of ferocity to blues guitar that few players had attempted before. His rapid-fire picking, aggressive slide guitar, and relentless stage energy pushed blues into a harder, more electrified direction.

In the late 1960s and early 1970s, Winter’s performances felt almost explosive. His playing retained the spirit of traditional blues while injecting it with the power of rock.

Winter’s influence can be heard in countless guitarists who embraced high-energy blues rock in the decades that followed. He proved that blues guitar could be both technically dazzling and emotionally raw.

Duane Allman

Duane Allman helped redefine the possibilities of slide guitar within blues rock. As a founding member of the Allman Brothers Band, he introduced a style that blended Southern soul, blues tradition, and extended improvisational jams.

His slide playing was fluid, lyrical, and remarkably expressive. Rather than treating slide as a novelty technique, Allman elevated it into a central voice of the band’s music. Tracks like “Statesboro Blues” and the epic live performances of “Whipping Post” revealed a guitarist capable of both raw blues intensity and expansive musical exploration.

The post 10 Blues Rock Guitarists Ahead of Their Time appeared first on Blues Rock Review.

Back in December 2024, the world learned that Violet Grohl was working on an album. Today, she’s officially announcing it. Produced by Justin Raisen, Be Sweet To Me is set for release in May. It’ll have “THUM,” the debut solo single Grohl released in December, and its B-side “Applefish,” which followed in February. As those…

The post Violet Grohl Announces Debut Album <em>Be Sweet To Me</em>: Hear “595” appeared first on Stereogum.