チケット一般発売延期のご案内

WINGER live report (March.16 @jergels) by TPRS.com

A sold-out crowd packed Jergel’s early for local melodic metal band Storm Dragon, and Red Reign,
who drove in from Richmond, VA to perform a set of original music as they warmed up the audience for Winger.

When The Pure Rock Shop caught up with Red Reign’s drummer Sammy Lee,
he explained that the band decided early on that if they were going to do this,
they were only going to play their own music.  And, that the best way to get that music out to their fans
would be to perform it live and build an audience by meeting people.  
So, that is exactly what they did.  
This is the band’s second visit to Jergel’s, the first being in support of Dokken last March.  
Check out the full interview with Sammy from 91.7FM WNJR here.

Winger kicked off their set with “Midnight Driver of a Love Machine,”
which has become a regular addition to the band’s set since its release nearly five years ago now.  
As Kip Winger explained in his interview with us from the Monster’s of Rock Cruise,
scheduling shows can be a challenge with John Roth in Starship, and Reb Beach in Whitesnake. 
In this case, both guitarists were in check and Rod Morgenstein was on drums
(although as you can see, I couldn’t get a glimpse of him behind this cymbals to actually get him on film!).

John pitched in on bass and vocals while Kip took over keyboard duties for “Miles Away” and
“Headed for a Heartbreak” mid-set, following an incident where a fan had fainted in the packed-in crowd.  
In response, the band sent water into the audience, and invited the girl to take a seat on stage for
the rest of the show, which she gladly accepted.

Also, worthy of mention are other newer favorites like “Pulll Me Under” from the band’s 2009 release Karma,
which gives frontman Kip Winger the opportunity to showcase some of those screams
that we remember from the early years of the band, and the quick hitting title-track
from the band’s 2014 album “Rat Race,” which always gets the audience pumping their fists in the air.

The evening closed out with a lengthy and entertaining guitar solo from local member Reb Beach
before the band jumped into “Seventeen,” and invited a member of the audience, Bob Kip Grill, up to jam on some Van Halen.  
When doing so, much to the same point of Sammy from Red Reign, frontman Kip Winger asked
how many musicians were in the house.
After a show of hands, he reminded everyone to support local music and to keep club’s like Jergel’s open
so that they can continue to perform live, because all bands are counting on those live performances to make a living.  

Remember to follow us for the latest news on hard rock and metal music locally and at festivals.  
Catch radio interviews and pure rock programming, including new music from Whitesnake, classic Winger,
and more on 91.7 FM WNJR Washington / Pittsburgh and online at WNJR.org daily from 3pm EST ? Midnight.
 Follow us @ThePureRockShop for more coverage from upcoming local shows including
Jake E. Lee’s Red Dragon Cartel, Mike Tramp and John Corabi acoustic performances later this week
at the Crafthouse, and Kip Winger and Whitesnake and the M3 Music Festival in May.

News from Blabbermouth.net=WINGER to release new album in 2020=

WINGER frontman Kip Winger has told The News Press that there are tentative plans for the band to write and
release a new album in 2020. The disc will be the follow-up to "Better Days Comin'", which came out in 2014.

In a recent interview with CantonRep.com, Kip stated about the songwriting process for "Better Days Comin'":
"They're all the same. Me and Reb [Beach, guitar] sit down with a drum machine and knock out a bunch of riffs,
and then we do lyrics and cut drums. It's a very basic formula. The writing process is really where it's all important.
It's Reb and me sitting down in front of the gear and going for it. I never start with any ideas.
I just let them come as I'm writing. I usually know within seconds if I can turn it into something good."

Asked if there is less pressure to write songs today than in the '80s, when record labels were always eager for the next hit song,
Kip said: "Not for me, because the standard is still so high. I want to keep bringing the best music forward that I can.
It's important that I'm not letting the music suffer from lack of quality. I'm a very good self-editor."

WINGER formed in the late 1980s and soared to immediate success with its 1988 self-titled release.
The album spawned the hit singles "Seventeen" and "Headed For A Heartbreak" and achieved platinum sales status.
"Winger" also stayed on The Billboard 200 chart for over 60 weeks where it peaked at #21.
Their next album, "In The Heart Of The Young", also achieved platinum status behind the singles "Can't Get Enuff"
and "Miles Away". The change in musical climate of the mid-'90s, compounded with unprovoked ridicule on MTV's popular
"Beavis And Butt-Head" show, led the band to go on hiatus in 1994. In 2001, WINGER reunited and has not looked back since.
Kip also earned a 2016 Grammy nomination for the classical album "C.F. Kip Winger: Conversations With Nijinsky",
recorded with the San Francisco Ballet Orchestra

Reb's interview PartII at Ultimate Guitar.com
Rebのソロアルバムもいよいよファンの手元に届きそうです！
See text here


"Reb Beach names Guitarist that defines Whitesnake sound for him, explains what it's like working with David coverdale

On May 10, 2019, Whitesnake will release their long-awaited new album, Flesh & Blood. The current incarnation of Whitesnake features the talents of classic rock legends, Joel Hoekstra and Reb Beach.

We recently caught up with Reb to discuss the new Whitesnake album, as well as his upcoming solo release, and a new project featuring his former bandmate Jeff Pilson. In addition, we discuss the role of music theory and improvisation in classic rock music.

When you joined Whitesnake in the early 2000s, did you feel a need to adapt to 'The Whitesnake Sound'? Interestingly enough, you've been in the band for so long now that you sort-of are the Whitesnake sound.

"No, Doug [Aldrich, ex-Whitesnake guitarist] did all that. He played a lot like [John] Sykes, he was good at doing the Sykes-y stuff. So, he gave me all the bluesy solos, which was great because it was right up my alley.

"But I'm not the Whitesnake sound - if you ask me. If you ask me, the Whitesnake sound is Sykes. When that album came out, I rushed out and bought it. I had never heard anything like that. It just jumped off the album.

"I bought the cassette and I played it in my car constantly. It just rocked. Like, 'Crying in the Rain' - those guitars are on fire. I got to hear those guitar tracks by themselves and it's just insane - they just jump out at you.

"It was like the first Van Halen record. So that, to me, is the Whitesnake sound, where he does all those sick segues into certain parts. Everybody has their own idea of what the Whitesnake sound is because the Whitesnake before that was a blues band and I didn't know that.

"A lot of people in America weren't familiar with that other band because the big record in '87 is that one most people know with 'Here I Go Again.'"

There have been a few different incarnations of Whitesnake through the years. Now you're working with Joel [Hoekstra].

"I think I was the 46th member of the band. We counted once."

That can't be true. Is it?

"Yeah, it was in the 40s. I'm pretty sure it was 46. That includes all the drummers and bass players and all that."

There has been such a great cop of guitarists that come through there. Whitesnake has always had great guitarists.

"Definitely. David [Coverdale] only wants the best."

Aside from just being a great guitar player, you got a chance to flex some songwriting muscles on this new record as well. What was that like, working with David, from a songwriting standpoint?

"I was not what I expected. It was really different. I didn't know he was such a good songwriter, for one thing. He knows what he wants. We don't spend more than five minutes of him talking quickly, picking up a guitar and playing a few chords and that's it.

"He wrote most of the stuff on the record, those were his ideas that he had when we came in. I brought in like 40 ideas but to get him to listen to them, you've got to really feel strongly about it if you're going to play it for David.

"If it's not something that catches him right away, you're wasting your time. It's got to be like a three-chord thing that everybody gets. It can't be Winger, it can't be Rush, he won't like that at all.

"He likes three-chord rock and he can write the three-chord rock, and he knows what he likes right away. It goes very quickly. So, once you're done with the basics of a song, he'll go, 'Here's the bridge,' and he'll play it and once in a while, there will be a weird chord he'll use, and we'll change it.

"But after that five minutes of [writing the framework of the song], then you take that song and you make it a finished song. 'Shut Up and Kiss Me' was my idea and I came in with 'Hey You' and my big song was 'Sands of Time.'

"It took a while to get David on board with that one because it was kind of sounding Led Zeppelin-y, but he came around on it and I'm really glad because that song sounds Whitesnake-y to me. "

The album itself sounds Whitesnake-y which I suppose it should because you're Whitesnake.

"You know, I've been reading that online [from reviews] and it's hard for me to look at it objectively because I've heard the album 8 billion times.

"We worked on it for a year and a half, living with David, working on it every day. But everyone's saying it sounds like Whitesnake so that's great."

The guitars are the focal point, the solos are incredible, as we would expect from you and Joel. Is a song like 'After All' a good representation of how one of these songs start? That was a cool song.

"David wrote that. Its just David's song. David came in and said, 'This is the song, here you go.'"

It was quite a changeup after listening to the rest of the record, which is face melting-guitars, and then there's that song.

"Yeah, it's a beautiful song. I haven't heard in a while actually, but I always thought it was pretty. David played it for me and I said, 'You should put that on the record.' It's a very lovely song. I told him he should end the record like that."

There's some cool slide guitar work on there. Was that you or was that Joel?

"I did some. I can tell when it's me and when it's him. He did a lot more slide than I did. I did the maybe two solos on a slide but it's mostly Joel on the slide."

Joel has some co-writing credits on the album as well. How did you two divvy up the guitar work and the solos?

"He does. He would come in when I was out with Winger and he would write with David. So we wrote two different ways, either it was us one on one with David or the three of us, but mostly it was one on one.

"Joel brought some stuff in but mostly it's just honing David's ideas that he spews out. He's constantly picking up a guitar and saying, 'What do you think of this?', and 'What do you think of that?'. The writing process is very 'bang bang bang.'

"As far as who played what solos, basically, I picked the solos that I wanted to do and gave Joel the rest. Because Joel can play over anything. Joel doesn't really care because he's amazing at whatever he plays on.

"He's just on another plane of thinking, guitar-wise. Just give him any rhythm and he'll just burn over it and it will sound awesome. And he'll do it on the first take too.

"He can [remember what he played and replicate it]. I can't do that, it would be different every time. But I looked at the solo sections and picked up a guitar and asked myself if I liked it or if it sucked to jam over.

"For Joel, nothing sucks to jam over. He can jam over anything. So that's why I got to choose what solos I wanted to play and he was, like, 'Fine,' it doesn't matter to him."

For your solos on the record, did you improvise or did you plan them out?

"I don't like to comp them, like playing seven solos and putting sections together. Usually, I find a good seed to start with. I just pick the best take on a solo and then pick the parts that suck.

"That's always the way I do it. Like if I find one solid performance, I'll go in and fix that one. You have to keep in mind, that with me anyway, David told me, 'No widdly-widdly stuff.' He wants melodic.

"I don't know if he even said that to Joel but he said it to me. He wants to keep [my playing] melodic. That's the way he likes guitar. So that's what I did on this record."

Did you experiment with any pedals or new gear in the studio?

"I'm not a pedals guy. I learned early on that going directly into the amp works best, maybe a distortion pedal if you need it, which helps make your tapping sound like you're picking every note because it compresses it.

"Other than that, I just go right into the Custom Audio head and if they're going to add stuff, we just do that later. I like having the least amount of bells and whistles possible. I rarely use a wah. Joel uses a wah all the time, he a wah guy."

It seems that everybody has been going to modeling amps - Kempers, Fractals, etc. What has steered you away from those?

"They don't sound as good to me. And I think anyone who says they sound just as good is wrong. Period. I just like the Marshall sound - the big, fat, tube rock sound. It hasn't been done yet where they can recreate that perfectly, it comes close but they haven't done it perfectly yet, in my opinion.

"That's why Joe Satriani and Steve Vai and Eddie Van Halen, and all those greats take those big heavy amplifiers out on the road with them I mean, it's a pain in the ass to carry those things out in a giant rack. But it just sounds better.

"But the Kempers and all that stuff is fantastic in the studio and it's really useful. With Whitesnake, they're always wanting me to give them a direct signal. But I won't do it because then they will screw with the tone."

So you still mic the cabs and all that?

"Yeah, just stick a [Shure] 57 on there and that sounds good. It's just the way I've been doing it for 30 years now. That's my thing. Joel can’t stand that, live, I play with a 320-millisecond delay on for the whole show.

"It drives Joel up the wall. He's, like, 'You don't change it to the tempo of the song?', and I'm like, 'No, that’s a pain in the ass.' I'm just a lazy, beer-drinking, '80s guitar player. But I've always done that with the delay on the whole time."

You do that to thicken up the tone a bit, I assume?

"Yeah, I don't want a dry guitar? Who wants a dry-sounding guitar [tone]?"

So, where are you at with this solo instrumental record? I've been hearing about it for years now.

"Oh man, it's like it's cursed or something. I finished it, handed it to a label, and they said I needed another song for Japan. And it turns out that I haven't done my taxes in a couple of years, like, I'm behind on my taxes.

"So for this label, I have to be up to date on my taxes - this just happened. So now I'm doing my taxes and finishing the last song. Some of my friends just said, 'Why don’t you just put a different solo on a song for the Japanese?'.

"But man, the Japanese fans are like my greatest fans and I love the Japanese people. They love music and they listen to every single note that you play and I think they would like this record more than anyone. So, I don't want to disappoint them, so I'm recording another song which I'm almost done with.

"I just have the outro solo to do on it and then I’ll send it to the bass player. So that will be done fast. It'll be out this year for sure. I have the contract all done and everything. It's really fucking good too. It was just like a hobby when I would come home from the road. I’ve been working on it for years.

"Kip Winger asked me whatever happened to those recordings, I told him they were sitting in my computer. He asked why I hadn’t released it and I said because I never have the extra 5,000 dollars to pay a drummer and other musicians to come in and studio time.

"So he lend me 5,000 and we recorded the drums with my favorite drummer of all time, Dave Throckmorton, who also played on 'Masquerade,' my 2003 solo album."

For people who have heard your previous solo work, is there anything on the new album that's going to surprise people about your playing or your songwriting?

"Yeah, that's a great question. I like that question a lot. There really is. There are people I know who have heard my 'Fusion Demos' and it was when Winger went under and I wanted to make this record - I wanted to make an instrumental album.

"I was still coming off of Winger so all the labels wanted me to do something that sounded like Winger. They didn't want an instrumental record because instrumental records don't sell. They didn't sell back then either.

"So nobody wanted it so those demos just sat and then the internet happened so I put them out on the internet and now it's my best selling thing, the 'Fusion Demos.' So that's where I got the idea to actually do something that wasn't done on a four-track cassette machine but continued in that area of instrumental music.

"It progressed as I was writing and recording. It wasn't as basic. It sounds more mature. It sounds like a band playing it. The thing I really like about it is that it's really inside.

"It's not typical of a guitar player's instrumental record. It's got rock, it's got ballads, it's got jazzy funk jams. But they don’t sound like stuff you've heard before. I think they'll be really surprised, actually."

I'm one of those nerds who loves instrumental guitar albums.

"It's very inside though it's not just [a bunch of typical flashy guitar playing], it's very melodic. But its good technical playing. It's got to be my best playing ever."

You've been doing this for 30 years. How do you define success as a musician?

"I guess these days just by making a living. I feel successful just because I'm able to pay the bills and I'm able to do it through music. All I do is write music and play music and drink beer and travel around.

"It's the greatest job in the world. I was complaining to my Uber driver the other day and he was, like, 'What the hell are you complaining about?'.

"I was, like, 'You're right! I'm the luckiest guy on the planet!'. I feel that I'm very successful just being able to do that and I think if a guy can do that, then he's successful."

I heard a rumor about a new project that you’re allegedly involved with. Are you able to talk about that?

"Yeah, a little bit. I'm just not allowed to say the name, and I don't know why. That's what they told me. It's done. It's going to be mixed and it will definitely be out this year.

"So, I've got three new things coming out, I've got that, my solo album, and the new Whitesnake album all coming out this year. But I'm really excited about the project with [Jeff] Pilson because it's all my seed ideas that I came in with. We wrote the whole album - 10 songs - in 11 days. Because one took a little longer.

"Me and Pilson wrote 'Erase the Slate' together for Dokken. So, this is however many years later we got back in a room together and I did my homework and I came in with a bunch of ideas. This is going to sound terrible, but it was a bunch of ideas that Winger never used. Because Kip was never inspired that they were Winger-like ideas.

"They were just basic rock ideas but I always loved them and wanted to do something with them, but they were just sitting there forever. So I came in with 30-40 ideas. Probably the same damn ideas I went to Whitesnake with, that David used like one of them. Pilson just picked the ones he liked ? basically, they’re just verses and choruses and that’s it. The great thing about Pilson is that he is one of those schooled guys that we were talking about earlier.

"He’s a serious music director and he’s a great arranger. That’s what I needed. I’m a terrible arranger. That’s one of the reasons that Kip Winger and I worked so well together. I’m a killer riff writer I can just pick up a guitar and write a riff = thank you, God, for giving me that gift that I can write riffs all day long. But Pilson can take those riffs and instantly know if they’re a bridge or an outro, and I kind of know that too, but he’ll know where to go from there.

"Like he’ll say, 'Let’s modulate up to F#’ and it’s something that I never would have thought of. So that’s why we were able to bang those songs out so quick. I’d come in with a riff or an idea and he would finish out the songs. So we’re a great writing team. He’s so great to work with. He’s a super nice guy and he’s so energetic and so into it.

"Most of the solos I did on this record were done first take and I’ve never done that before. It was really fun. It’s a great project ? it’s really rockin’. I’m so thrilled to have Robin McAuley singing. He sings his ass off. It’s just '80's rock music. You can bang your head and sing along ? that kind of stuff. That’s what I do."

So are we calling this a project, or is it fair to call this a band which will make more albums in the future?

"It’s very good. There’s no question that its very good. All I can do is speculate but I’m pretty darn sure that it is a band that is going to play live. If it tanks, then certainly we won’t but I just can’t see any way of it tanking because it’s really good. There’s not a dog in the bunch so I’m sure it’s going to do really well and at that point, we’d be obligated to do another record as that band."

2019 is going to be a massive year for you.

"I wish I was more dedicated to the guitar, but I’ve been playing a lot more just because of these projects I’ve been doing and I’ve been getting into guitar a lot more. It's reminding me of that spark and that drive that I had when I was a kid where I just wanted to play guitar all the time.

"I mean I would come home from school and smoke a bowl and play for six hours straight. The way I learned to play guitar was when I first got an electric guitar, I got the Molly Hatchet album and I learned every single song, front to back. So, I’d come home and just play that album front to back ? all the solos, everything. I taught myself the whole thing, the solos were so easy, they were just simple pentatonic super easy solos and id pretend I was a rockstar.

"I’d take the mattress off the bed because it was like a wood platform and I would pretend I was on stage and my friend would come over and I would play “Green Grass and High Tides” note for note. I’m remembering what that was like, so I’m playing a lot more now. I’ve been [experimenting] a lot more and really getting into it.

"The more you do that stuff, the more you can have your own style and be your own voice. Like Billy Gibbons, for example, you can always tell when its Billy Gibbons after one note. Those are the coolest guitar players and that’s what I aspire to be is one of those guys [with a unique voice]."

Are there some aspects of your playing you’ve been focusing on recently?

Well, believe it or not, I learned the pentatonic scale all the way up and down the neck on every string, which I never did before. I never knew that until a couple of months ago when I taught it to myself. I only know like three scales."

Three is all you need.

Yeah, three is all you need for '80s rock. But I do it by ear so I’m sure I play the harmonic minor scale all the time, I just don’t know, or care, that that’s what it is.

It would appear that knowing music theory gives you the why it works but it’s not necessarily a measurement of whether or not you’re able to do it.

Yeah but it’s also really helpful when you’re playing with other musicians. Sometimes it can be obnoxious, like when I’m playing with a schooled musician and we’ll be playing a whole step down and they’ll be like ‘actually that’s not an E, it’s a D’. Whatever! It’s this note.

During a conversation with UG's Justin Beckner, Whitesnake guitarist Reb Beach talked about the beginnings of his musical journey and the importance of knowing music theory.

You can check out a part of the interview below.

Let's start from the beginning. What made you want to reach for a guitar and what were some of the first songs you tried to learn?

"Well, I wanted to be a piano player. I thought I was going to be a pianist. I wanted to be Elton John or Billy Joel. I had been playing the piano since I was 4.

"So I was really into it and I thought it was really cool until I saw KISS. That was the end of the piano for me. I took one look at Ace Frehley - I saw them live at Madison Square Garden when I was 13. That was it. I just knew, right when I saw it, that's what I was supposed to do.

"My mom had gotten me a guitar for Christmas and it sat under my bed for months. I mean I tried to play it but it hurt so I never played it. But after that [KISS show] I took up this huge interest in guitar.

"This guy I knew was a folk guitar player so he knew how to play chords, just the basic chords, so he taught me to play those and I took it from there."

I ask that question about what inspired you to play, all the time, and I’m always surprised by how often the answer is KISS - or Jimi Hendrix. What was it about KISS that drew you in so much?

"I remember when they came out, there had never been anything like it that I knew about. They were the hot new thing. Hendrix was way before my time. I was born in '63 so I wasn't influenced by him. I was influenced by people who were influenced by him, that’s for sure.

"But what is it about KISS? I was just a kid and I liked the whole thing surrounding [the band]. Like, I thought Ace was really from space, you know. I just liked the whole stage thing. I had sort of a stage mother who was always pushing me to be on stage.

"So, I loved the whole theatrics thing. He was just such a rock star, Ace was. He still is. He does shows and he'll do jams and stuff and when other people come out people cheer, but when Ace comes out, people go crazy.

"It's amazing. And he's not like Joe Satriani or one of those kinds of guitar players, he's just cool. He just puts the amp on 10 and just plays."

With your background in piano, do you have any schooling in music theory?

"None. Zero."

Do you think that has helped you or hindered your career as a guitarist? Has it helped you find your own voice?

"I think it's hurt me more than helped me that I don't read music, I think. There were situations where it would have helped if I had read music.

"Like, I auditioned for Hall & Oates and I didn’t get it because I was playing the right chord but the wrong inversion of the chord. It was on, like, 'Rich Girl' or something. I wasn't used to playing the chord you'’re supposed to play so I had a really hard time playing it.

"They loved the solo that I did at the audition, I told them I was great at soloing and they said, 'Yeah, obviously.' But I couldn’t play that chord. So I told them I would have to practice that one because it was weird for me and that was it, I didn't get the gig.

"There have been a couple of other times where it would have been helpful to be able to read. But the thing is, I know a couple of people who I went to school with who went to four years of music college and came out without any soul.

"They all just sounded the same. All those guys at Berklee, they were all playing scales and they all kind of sounded the same. So I've definitely got my own sound when I play the guitar and I like that.

"I like that the second I hear a guitar somewhere on the record I know it's me. I don't think I would have had that if I had stuck it out at Berklee rather than just doing two semesters of partying."

They have good parties at Berklee, I hear.

"We had good parties back then. It was in 1982 and I dated the only girl there [laughs], the only cute girl there, so that was fun. I was just jamming at Berklee. I never went to class.

"My guitar teacher was an asshole. He told me I was holding the pick wrong and that I was sitting wrong and he told me, 'You'll never make it. You'll never make as much money as I do, the way you play guitar.'

"That's basically when I got in my car and drove away. I was voted most likely to be a rock star in high school. I always knew that I belonged on the stage.

"I'm an extrovert and I'm really comfortable up there. I have a great ear and I just knew that I was just meant for it. Not that I think of myself as a rock star, I don't think of myself that way, but I have had a lot of success."

MATT STARR Says His New Project With JEFF PILSON, ROBIN MCAULEY, REB BEACH Is 'Awesome'

Bassist Jeff Pilson (DOKKEN, FOREIGNER), vocalist Robin McAuley (MCAULEY SCHENKER GROUP, SURVIVOR), guitarist Reb Beach (WINGER, WHITESNAKE) and drummer Matt Starr (MR. BIG, ACE FREHLEY) have joined forces in a new project whose debut album is expected later this year via Frontiers Music Srl.

Speaking to Rock Titan, Starr stated about how his involvement in the projct came about (see video below): "Three weeks ago or four weeks ago, Jeff reached out and said, 'hey, I've got this new thing with Robin McAuley and Reb Beach, and I wanted to see if you'd be interested in talking about playing drums.' And I said, 'Yeah. Of course.' I know all those guys ? [they're] super talented. They have a record, and the record was done and they needed to put some drums on it. So they had asked me, and I checked out the music and it was very cool. I said yes, and then, three days later, I was up at Jeff's place and we were cutting drum tracks. We spent four days, three and a half days recording 12 songs. And it's awesome. And I just, two days ago, got the last of the rough mixes. Jeff is putting together everything. And on some of the things I was hearing Robin's vocals ? most of it I was ? but I didn't hear the whole thing. And it's really, really, really good. Everybody says that about whatever they're working on, but we were all, like, 'Holy shit! This is awesome.'"

Starr declined to reveal the new band's name, but said the record should be available in the coming months. "I think they're shooting for later this year to get it out, but that's not any kind of official word," he said. "But I think that's the goal. And then what happens from there we'll see. Everyone's got schedules and all that stuff, so we've gotta see what happens."

The drummer, who has played with a number of high-profile acts in the past, said that he is an official member of the new project, "which is great. And I think that's kind of the first time for me, because I'm always coming into situations where I'm the hired guy," he said. "And look, there's advantages to that too ? you negotiate your rate and then the tour can do whatever it does and you don't have to worry about it. So there's pluses and minuses to all that. But, yeah, I'm a member of this band. And I think everybody's pretty excited to get out there and play. Just how and when we can do that, we'll have to wait and see."

Last month, Pilson officially confirmed the project's existence, saying that the album was "turning out amazing. Wait until you hear everybody's playing and singing. It's beyond ? way beyond," he promised.

Pilson recently told Peter Harris of the "10?" podcast that he was working with Beach and McAuley. "I just did a project with Reb Beach and Robin McAuley on vocals," he said. "There's a song on the record that I wrote right after seeing the QUEEN movie ['Bohemian Rhapsody']. I came home and I sat down at the grand piano and pretty much wrote exactly the chorus that we have, just coming straight [from] the movie. It is a bit QUEEN-like."

Pilson ? one-fourth of the classic DOKKEN lineup ? joined FOREIGNER in 2004. In recent years, he has also produced albums by LAST IN LINE, KILL DEVIL HILL, STARSHIP and WARRANT.

Beach ? who was among the artists recently interviewed for Guitar World's February cover story on the "last days of hair metal" ? is an original member of WINGER. He joined WHITESNAKE in 2002. Notably, he also performed on one DOKKEN album alongside Pilson, 1999's "Erase The Slate".

Irish vocalist McAuley is best-known for fronting MCAULEY SCHENKER GROUP from 1986 to 1993. Alongside Graham Bonnet and Gary Barden, he has toured with MICHAEL SCHENKER FEST in recent years and also appears on "Resurrection", the group's 2018 album.

Starr ? who joined Ace Frehley's band in 2012 and continues to perform with him periodically ? began touring with MR. BIG in 2014 and appears on the group's latest album, 2017's "Defying Gravity". He has also toured and/or recorded with HOOKERS & BLOW, BEAUTIFUL CREATURES and BURNING RAIN, among others.

WHITESNAKE 1st single "Shut Up And Kiss Me" Teaser and full release Feb 14th

From Officail whitesnake
"Head on over to https://youtu.be/hKMwGzOmtsE to catch the world premiere of "Shut Up & Kiss Me" from the upcming album, FLESH & BLOOD!
Fresh & Blood is out May 10,2019 on frontiers music Srl on CD, CD/DVD deluxe edition, LP(standard & LTD.Ed.clolor vinyl),Box set, and digital.

Signed CDs(limited to 100)
Limited edition silver vinyl(limited to 300 copoes worldwide)

Signed CDs (Limited to 100), Limited Edition Gold Vinyl (Limited to 500 copies WORLDWIDE),
& more available from Frontiers' UK webstore HERE HERE: https://whitesnake.tmstor.es/

Signed CDs (Limited to 100), Limited Edition Red Vinyl (Limited to 350 copies WORLDWIDE)
& more available from Frontiers' EU webstore HERE: https://www.frontiers.shop/

+CD (Jewel Case)
+CD+DVD Deluxe Edition (Digipak) - Includes two studio bonus tracks on CD. DVD includes "Shut Up & Kiss Me" (classic jag version) (VIDEOCLIP),
"Shut Up & Kiss Me" (club mix version) (VIDEOCLIP), Behind the Scenes of 'Flesh & Blood' VIDEO + 3 DVD Audio Tracks (Remixes of album tracks)
+Super Luxury Boxset - Includes CD+DVD Deluxe Edition, 2xLP Standard Color LP, Poster, Numbered Lithograph, Box Set
+2xLP - Black, 180g, Gatefold (Worldwide)
+2xLP - Silver, 180g, Gatefold (Frontiers' U.S. Store Exclusive) - Limited to 300 Copies
+2xLP - Gold, 180g, Gatefold (Whitesnake UK Store Exclusive) - Limited to 500 Copies
+2xLP - Red, 180g, Gatefold (Frontiers' EU Store Exclusive)

Tracklist CD / 2xLP:
1. Good To See You Again
2. Gonna Be Alright
3. Shut Up & Kiss Me
4. Hey You (You Make Me Rock)
5. Always & Forever
6. When I Think Of You (Color Me Blue)
7. Trouble Is Your Middle Name
8. Flesh & Blood
9. Well I Never
10. Heart Of Stone
11. Get Up
12. After All
13. Sands Of Time

Bonus Tracks Appearing on CD+DVD Deluxe Edition and Digital Version:
14. Can’t Do Right For Doing Wrong (Bonus Track - New Studio Song)
15. If I Can’t Have You (Bonus Track - New Studio Song)
16. Gonna Be Alright (X-Tendo Mix) - DVD Audio Track
17. Sands Of Time (Radio Mix) - DVD Audio Track
18. Shut Up And Kiss Me (Video Mix) - DVD Audio Track

Mixed by Christopher Collier
Produced by Beach, Hoekstra & McIntyre
Executive Producer: David Coverdale


Fresh off celebrating their 40th anniversary, rock legends Whitesnake return with their latest studio album, “Flesh & Blood”.
This album follows the 2011 critically acclaimed studio album “Forevermore” and 2015’s “The Purple Album”,
a reimagining of Deep Purple classics from Whitesnake mastermind’s David Coverdale’s time in that band.
The 13 original, visceral tracks on “Flesh & Blood”, the band’s 13th studio album, are, luckily for you dear reader,
“all killer, no filler”, as the saying goes.

But would you expect anything less from the ’Snakes?

David Coverdale, the mastermind behind Whitesnake & co-composer of 'Shut Up & Kiss Me' with guitarist Reb Beach,
commenting on the forthcoming release said "that after the intense darkness of our last video BURN If anything,
it’s ‘light’ snake, you know? We’ve got some really dark energy going on in the world right now,
so we’re gonna write & record a fun, knees up, song about falling in love with a fabulous babe.
You’re over-talking, over-compensating & she just looks at you, takes the reins & says, 'Shut Up and Kiss Me!' and that’s it!!
My video director and creative partner Tyler Bourns and I discussed a great storyline for the video,
which involves a surprise guest: my fabulous old white Jaguar. We ended up cleaning and detailing it,
as it has been in storage since I moved to Lake Tahoe, then we dusted off my old turquoise silk jacket from
the original ‘Here I Go Again’ video and I was thinking, "man, this is going to be fun!
" It’s a respectful acknowledgment and positive nod to the past, just fun stuff.”

Joining Coverdale on Flesh & Blood is the powerhouse band comprised of Reb Beach and Joel Hoekstra on guitar,
Michael Devin on bass, Tommy Aldridge on drums, and Michele Luppi on keyboards.

The current incarnation of the band carries on the long and unwavering tradition of main man David Coverdale
being surrounded by cream of the crop players who go all in to bring fans the best hard rock humanly possible.
40+ years into their existence, the ‘Snakes fangs have only grown sharper and are ready to inject fans with more of that rock ‘n roll venom they crave.

Watch the video for 1st single, "Shut up & kiss me"

日本盤はWord recordsより発売
発売日：2019.5.10世界同時発売
Format：
Davidの直筆サインカード付CD+DVD+2枚組LPレコード　10,000円+税
帯付き輸入盤2枚組LPレコード　5,000円+税
初回限定盤CD+DVD　4,000円+税
通常盤CD　2,600円+税

〜メーカーインフォメーション〜

ハード・ロックの頂点に君臨してきたホワイトスネイク。1987年の『サーペンス・アルバス（白蛇の紋章）』が全世界で1,000万枚を超えるセールスを記録したのを筆頭に、
数々のヒット作を生んできた彼らの新作は、これこそがホワイトスネイクだ！と高らかに宣言するハード&ソウルフルな一撃だ。

『ザ・パープル・アルバム』(2015)でデヴィッドの原点である第3期ディープ・パープルのクラシックスを再演したホワイトスネイクだが、
本作は8年ぶりとなるオリジナル・アルバム。ジョエル・ホークストラ&レブ・ビーチのギター・チームが作曲に関わる初の作品となる。

40年以上におよぶバンドの軌跡の集大成といえる本作。世界中でライヴのオープニングを盛り上げることになるだろう
「グッド・トゥ・シー・ユー・アゲイン」からエンジン全開で、デヴィッドが“「スロー・アンド・イージー」の遠戚”と呼ぶ「ウェル・アイ・ネヴァー」、
“「ラヴ・エイント・ノー・ストレンジャー」の歌詞テーマに共通する”という「トラブル・イズ・ユア・ミドル・ネーム」、“「ラヴ・ウィル・セット・ユー・フリー」の発展形”
である「オールウェイズ・アンド・フォーエヴァー」など、新旧ファンが愛してやまないホワイトスネイク・サウンドで押しまくる。
カヴァーデイル・ペイジの2ndアルバムのために書かれたギター・リフを基にした「ゴナ・ビー・オールライト」、
感涙のパワー・バラード「ホエン・アイ・シンク・オブ・ユー（カラー・ミー・ブルー）」、「クライング・イン・ザ・レイン」を彷彿とさせる
ダークなラヴ・ソング「ハート・オブ・ストーン」、深遠なる叙事詩「サンド・オブ・タイム」など新時代へのクラシックスの数々は、バンドの健在ぶりをアピールするものだ。

ジョエルとレブの鮮烈なギター・プレイも本作をさらにエキサイティングなものに昇華させていく。「シャット・アップ・アンド・キス・ミー」でのレブのフラッシーな速弾き、
「トラブル・イズ・ユア・ミドル・ネーム」でのツイン・ギターの応酬など、ギター・キッズをノックアウトする瞬間が幾つもある。 そんな彼らにトミー・アルドリッジのドラムス、
マイケル・デヴィンのベース、ミケーレ・ルッピのキーボードが加わった布陣はデヴィッドが“歴代最強のひとつ”と呼ぶのも納得だ。

『ザ・パープル・アルバム』に伴うワールド・ツアーで引退も考えたというデヴィッドだが、“情熱”と“衝動”に燃え上がる新作で還ってきた。
かつて“ヒア・アイ・ゴー・アゲイン＝もう一度旅立とう”と歌った彼が、『フレッシュ・アンド・ブラッド』で新たな出発に向かう。

【日本盤限定ボーナストラック収録/日本語解説書封入/日本語字幕付き】

【メンバー】
デヴィッド・カヴァーデイル (ヴォーカル)
レブ・ビーチ (ギター)
ジョエル・ホークストラ (ギター)
マイケル・デヴィン (ベース)
トミー・アルドリッジ (ドラムス)
ミケーレ・ルッピ (キーボード)

初回限定盤CD

[CD]
1.グッド・トゥ・シー・ユー・アゲイン
2.ゴナ・ビー・オールライト
3.シャット・アップ・アンド・キス・ミー
4.ヘイ・ユー (ユー・メイク・ミー・ロック)
5.オールウェイズ・アンド・フォーエヴァー
6.ホエン・アイ・シンク・オブ・ユー (カラー・ミー・ブルー)
7.トラブル・イズ・ユア・ミドル・ネーム
8.フレッシュ・アンド・ブラッド
9.ウェル・アイ・ネヴァー
10.ハート・オブ・ストーン
11.ゲット・アップ
12.アフター・オール
13.サンズ・オブ・タイム
14.アフター・オール (Unzipped Mix) ※日本盤限定ボーナストラック

　＜初回限定盤ボーナストラック＞
15.キャント・ドゥ・ライト・フォー・ドゥーイング・ロング
16.イフ・アイ・キャント・ハヴ・ユー

[DVD]

　■ミュージック・ビデオ
1.シャット・アップ・アンド・キス・ミー (Classic Jag Version)
2.シャット・アップ・アンド・キス・ミー (Club Mix)

　■『フレッシュ・アンド・ブラッド ビハインド・ザ・シーン』制作ドキュメンタリー(日本語字幕付)

　■ハイ・レゾリューション・オルタナティヴ・ミックス
1.シャット・アップ・アンド・キス・ミー (Video Mix)
2.ゴナ・ビー・オールライト (X-Tendo Mix)
3.サンズ・オブ・タイム (Radio Mix)