Showing posts with label Raven. Show all posts
Showing posts with label Raven. Show all posts

The Jon and Marsha Zazula Private Collection Auction 2022

August 27, 2022


Backstage Auctions, Inc. is honored to present The Jon & Marsha Zazula Private Collection memorabilia auction. The Zazulas, who are inducted in the Hall of Heavy Metal History, founded Megaforce Records and cemented their position as the de-facto music label in America for heavy metal. From their humble beginnings at the Indoor Market along Route 18 in East Brunswick, New Jersey to their global recognition, awards and various inductions, the "Z's" were trailblazers in the metal arena.  This auction is a celebration of the life and careers of Jon and Marsha Zazula.


Auction Dates: September 2 - 11, 2022 / A special VIP Preview of the entire auction catalog will begin on August 27th. Register today for your VIP All Access Pass. 





Lauded with accolades, the Zazulas left the world with an indelible imprint of fierce independence and the introduction of genre-defining music. They believed in a little band from San Francisco by the name of Metallica and helped them become the biggest Heavy-Metal band in the world.


They opened the doors for Thrash-Metal and delivered AnthraxOverkillAnvil, and Testament. They introduced the American market to the New Wave of British Heavy-Metal by means of Venom and Raven. And if that wasn't monumental enough, they established a flourishing record company – Megaforce Worldwide – and a strong management operation – Crazed Management.


The Zazulas were at the forefront of crossover genres, blending metal with industrial sounds (Ministry), funk (King's X / Mind Funk), punk (M.O.D. / S.O.D.) and grunge (Nudeswirl). They worked with established artists on the next chapter in their careers, such as Ace Frehley and Blue Cheer, ventured out with up-and-coming talent such as Warren Haynes and Bif Naked. Through it all, they remained "The Z's", passionate, dedicated, loyal and above all, approachable.


The Zazula estate has made available a selection of mementos from the private collection of Jon and Marsha. Included are rare photos, concert posters and handbills, promotional items, t-shirts and jackets, record awards, backstage passes and personal mementos from the likes of Metallica, Anthrax, Ace Frehley, Venom, Raven, Ministry, Anvil and more. Further are collectibles from Jon and Marsha’s famous record store "Rockn' Roll Heaven", Megaforce Records and even the Old Bridge Militia. Being kids from the sixties, the auction also features Grateful Dead memorabilia and vintage concert posters, as well as an impressive collection from the animated dark fantasy musical "Nightmare Before Christmas".


Among the many highlights are the following "not to be missed" pieces of music history; the original Anthrax 'Not Man' head, early-day Metallica concert tickets and flyers, the key to Metallica's stolen truck (!), Mercyful Fate's Melissa master reelsJonny Z's bass used to record Ministry's "Psalm 69" album, original Nudeswirl album cover painting, metal sculptures of Jack Skellington and Sally Seamstress, and a selection of guitars and amps owned and used by Jon Zazula.



Inside Iron Maiden: The Paul Di'Anno years

Author Greg Prato releases new book on metal giants' first two albums
By Peter Lindblad

Greg Prato's "Iron Maiden '80-'81" 2015
Iron Maiden's global domination as one of heavy metal history's greatest conquerors continues on unabated.

Still packing arenas and stadiums across the world, jet-setting to far-flung locales that embrace them as visiting royalty, the metal legends show no signs of slowing down, especially with singer Bruce Dickinson at the controls of Ed Force One.

There was a time, however, when a very different Iron Maiden was ravaging England with a vicious "punk metal" assault that spearheaded the New Wave of British Heavy Metal.

This was before Dickinson, before Nicko McBrain and the most well-known Maiden lineup. This was the era of lead vocalist Paul Di'Anno – as well as guitarist Dennis Stratton and drummer Clive Burr – and theirs was a raw, visceral sound that generated two classic albums (Iron Maiden and Killers) and eventually gave way to the more melodic and complex "prog metal" that made Maiden famous.

A new book by noted author Greg Prato chronicles Maiden's Di'Anno years in "Iron Maiden '80-'81," an oral history of the period composed through tons of insightful interviews with producers, band members – including a very candid and forthright Di'Anno – and other metal musicians. In some ways, it's also a history of NWOBHM, with a detailed look at the making of those first two Maiden albums and insider perspectives on why this lineup didn't last.

Prato recently took some time to answer some questions about his book and this volatile time in the life of Iron Maiden. Ordering information is included at the end of our Q&A.

Why did you decide to do a book on the early years of Iron Maiden? Did you feel in some way that it was an era that’s been somewhat forgotten?
Greg Prato: I was a huge Maiden fan growing up, lost track of them for most of the '90s, and then reconnected with their classic albums in the late '90s/early 21st century. And I found myself enjoying their first two albums (with Paul Di'Anno on vocals) the most of the bunch. I started reading up once more on the band's history, and noticed there was no book that focused solely on the "Di'Anno era" of Maiden. Like all the books I've done up to this point, it's a subject that I wanted to read about, but there wasn't a book on the marketplace, so I decided to stand up and do the bloody thing myself. To answer your other part of the question, early Maiden isn't necessarily forgotten (it seems like if you ask the average headbanger what their favorite two Maiden albums are, it's usually The Number of the Beast and Killers, the latter being Di'Anno's last album with Maiden) – I just wanted to read/learn more about it!

You talked about in the introduction how those early albums are the ones you enjoy the most, even though you were introduced to the band during the Bruce Dickinson era. It’s interesting that Mike Portnoy said basically the same thing. What makes those albums so exciting for you?
GP: Two of my favorite rock styles are probably vintage heavy metal and vintage punk rock, and to the best of my knowledge, Maiden was one of the first bands to merge both together (specifically on their first two albums) РMoțrhead being the other band. And this style later served as the template for what became thrash metal. I also always dug Di'Anno's vocals Рwhile I certainly appreciate singers whose voices border on the operatic (Freddie Mercury, Rob Halford, and Ronnie James Dio are some of my all time favorites), it seems like my favorite rock singers are those who don't sound like they're classically trained, but have a lot of personality in their voices (Di'Anno, Paul Stanley, Alice Cooper, Joey Ramone, Mick Jagger, etc.).

Author Greg Prato
You interviewed a wide range of people for this book. Who was the toughest interview to secure and, ultimately, what did it add to the story?
GP: Not many were difficult to secure, but perhaps the most interesting way an interview was conducted was with ex-Maiden guitarist Dennis Stratton. I got in touch with a gentleman through Stratton's website, who explained that Dennis now lives in a remote location and doesn't do email or phone interviews, but what he could do is if I emailed my questions, he would get them to Dennis, who would then record his responses as a sound file, and I would then get it sent back to me! Mr. Stratton was kind enough to answer two rounds of questions that way.

Tell me about talking to Paul Di’Anno. He’s such a big part of this story, obviously. What did you learn about him and his relationships with his band mates from your interviews that you didn’t know beforehand?
GP: It was great speaking to Mr. Di'Anno (who also was kind enough to grant me two interviews, as more questions came up after first round). I wasn't sure how he was going to be going in, because I had read his autobiography, 'The Beast," which includes some pretty darn wild and dangerous stories. But he was a very kind and talkative chap. As far as his relationship with his former Maiden mates, it sounds like he doesn't harbor any ill will towards them, and that he recently had a humorous run-in at an airport with longtime Maiden manager Rod Smallwood, which he recounts in the book.

There’s such a wide range of opinions about him as a singer. Do you think he gets the credit he deserves from not only the fans, but also his colleagues in the business?
GP: Yes and no. Any serious heavy metal fan I would think is well aware of Di'Anno's vocal contributions and importance towards Maiden's early albums and sound. But perhaps to newer fans who may just be discovering Maiden and other veteran metal acts, maybe not – since they've probably only been exposed to Bruce Dickinson-era Maiden. But as you read in the book, just about everybody interviewed has very complimentary things to say about Di'Anno's vocals on those Maiden discs.

Is Paul right, do you think, that the New Wave of British Heavy Metal started and ended with Iron Maiden? And with this story, did you want to tell the story of NWOBHM as well?
GP: Tough to say Рbefore Di'Anno told me that for the book, I would have said that there were other important contributors to the NWOBHM, tops being Def Leppard, Saxon, and Diamond Head (while a few veteran acts that were gaining steam at the time seemed to be lumped into NWOBHM at the time Рnamely Moțrhead and Judas Priest). But after Di'Anno's quote, I can kind of see his point Рthink "NWOBHM," and Maiden is really the band that automatically comes to mind. And out of all the NWOBHM bands, Maiden probably stuck to their stylistic guns the most, and didn't soften their sound further down the line (not to take anything away from Def Leppard, who I think did the right move with the direction they went with on Pyromania and Hysteria).

Reading about Iron Maiden’s evolution in this book, it seems like Paul’s time had an expiration date from the very start. Was his departure almost preordained?
GP: Another tough-to-answer question – you're hitting me hard with these questions! It seems like Di'Anno and the rest of the band were going in two different directions regarding what they thought Maiden should sound like, Di'Anno wanting to stick with the "punk metal" sound, while Steve Harris and the others wanting to open up their sound (which eventually shifted towards a more "prog metal" approach). It would have been interesting to hear what Mr. Di'Anno would have done on The Number of the Beast material, though.

Who, besides Paul, is the most interesting character or interview in the story of Iron Maiden’s rise? Maybe Dennis Stratton, whose relationship with Paul was pretty frosty? They definitely have different views on Rod Smallwood, the band’s longtime manager.
GP: Tony Platt, who produced the "Women in Uniform" single (as well as engineered AC/DC's Highway to Hell and Back in Black) had some interesting things to say about what really happened behind the scenes at the recording session for that song (it was a cover song that supposedly the band was forced to record against their wishes, in hopes of scoring a hit single). And interviewing the producer of Maiden's first album, Wil Malone, was very cool – to the best of my knowledge, I don’t think he has ever been interviewed before about his memories of working with the band.

There seem to be disagreements over what went on in the studio during the making of the first album, at least between Wil Malone and the band. Does he get an unfair rap for the production of that record?
GP: I personally like the sound of the first record! Raw and live – the way most of my favorite all-time rock n' roll recordings are. I admit that the sound of Killers is better, but the sonics of Iron Maiden get a bad rap, in my opinion. That album still holds up well – both sonically and musically.

Whose reaction to hearing that first album or memory of making it surprised you the most?
GP: Well, obviously Di'Anno's, who holds nothing back in voicing his disapproval of Malone's production!

In talking to everyone, did you come away with a new appreciation for that first album that you didn’t have before? Did what someone said about it make you look at it differently?
GP: No, my three favorite all-time Maiden albums are Iron Maiden, Killers, and Number of the Beast, so I've appreciated those early releases for a very long time. I thought it was interesting that Mr. Malone explains that he was consciously going for a "punk meets metal" sound on the album – so it may not have been solely the band's doing.

What was the best Iron Maiden touring story you heard from your interviews?
GP: The late/great Clive Burr filling Di'Anno's shoes with shaving cream right before going on stage, Stratton going out for his birthday with Kiss' Gene Simmons and Paul Stanley, an interesting story by Raven's John Gallagher about getting ripped off opening for Maiden, and Tygers of Pan Tang's Robb Weir almost falling off the stage backwards opening for Maiden…but being saved at the last second!

Everybody talks about the production of that second album, Killers. Was that the main difference between those first two records, or was there more to it than that? It seems as if there was a real sea change in the direction of the band in the aftermath of that first record.
GP: The sonics have a lot to do with the difference between the two. As far as the material, both albums are great from start to finish. But there is something about Killers – if I really had to choose a favorite Maiden album, I'd probably go with that one. Perhaps because there are so many songs on it that have either been forgotten or are seldom played live anymore by Maiden (namely, a song that I always thought could have been a rock radio hit at the time – "Prodigal Son").

What do you think set Maiden apart from the other NWOBHM bands? And do you think the other bands from that era were aware of the differences?
GP: As I said earlier, they appeared to be one of the first bands bold enough to merge punk and metal, and the fact that they became a global success by not shifting their approach towards a more pop direction. Not sure if the other bands were aware of the differences, as most NWOBHM bands followed a similar "punk metal" sound on their debut albums.

What would you like Iron Maiden fans to come away with after reading this book?
GP: With all my books, I make sure the main story is included, but also, I always try and include a few facts or stories that have never been recounted anywhere before. Ever wonder if Di'Anno was presented The Number of the Beast material before he left? What was Maiden up to when they learned of John Lennon's murder? What are Di'Anno's two favorite rock concerts he ever attended? All are included in "Iron Maiden: '80-'81," dear friends!

To read a sample chapter of 'Iron Maiden: '80-'81,' go to: http://www.songfacts.com/blog/writing/iron_maiden_80_81/

For ordering info (and to view Greg's other books), go to:

CD Review: Raven – ExtermiNation

CD Review: Raven – ExtermiNation
Steamhammer/SPV
All Access Rating: A-

Raven - ExtermiNation 2015
True survivors in a business that relishes eating its young, Raven have endured, the New Wave of British Heavy Metal veterans staying the course with a lineup that's been together for going on three decades now.

As recently as 2014, the trio of Mark Gallagher (guitars), John Gallagher (bass and vocals) and Joe Hasselvander (drums) gave Metallica a run for its money in concert, opening up for the thrash-metal titans in Sao Paulo. Those who know their NWOBHM history will recall that it was Raven who took Metallica out in 1983 on their first U.S. tour as a support act on the legendary "Kill 'Em All For One" campaign – they would also do the same for Anthrax, before going through major-label hell and living through a life-threatening accident to one of its members.

Obliged to return the favor, Metallica might not even exist if it weren't for Raven, their tumultuous, hard-hitting attack having inspired the thrash/speed metal movement that spawned the famed Bay Area scene and its most famous progeny. All these years later, Raven's crazed sonic fury hasn't abated, the brawling, dizzying delirium of "Destroy All Monsters," the opening track to the Steamhammer/SPV release ExtermiNation, setting the tone for the attention-grabbing and brutally unpredictable insanity that follows.

Powered by boisterous vocals, rugged rhythms and muscular riffs – all of it taking cover from a bombardment of screaming guitar leads flying overhead – ExtermiNation is a slug fest, the heavy, menacing, brawny grooves and captivating pull of "Tomorrow," "Battle March Tank Treads (The Blood Runs Red)," a venomous "Thunder Down Under" and "Fire Burns Within" forcefully roughing up any doubters that would dare question why they haven't yet given up the ghost. Even more satisfying is "One More Day," with its insidious, strong hooks and a full-bodied chorus that bleeds '70s classic-rock soul. And if it's sophisticated artistry you want, the melodic prog-metal movements of "It's Not What You Got" are captivating, reminiscent of Empire-era Queensryche.

On a chaotic "Feeding the Monster" and "Scream," Raven go on a rampage, defiant to the very end throughout ExtermiNation and driving these vehicles like they stole them, pedal to the floor until there's no more road. And when ExtermiNation does end, and Raven gets pulled over for going over 100 miles per hour and doing so with wild, reckless abandon, let the authorities throw the book at these Geordies from Newcastle Upon Tyne in the north of England. Given the reverence for their classic first three albums, as well as their latest metal romp, Raven will have plenty of witnesses to testify to their character.
– Peter Lindblad

Powerline: The Resurrection


Founded in 1985, Powerline began as an undergound hard rock/heavy metal mag, distributed mostly in record stores worldwide. As it evolved a few years later, it embraced more commercial hard rock
 (the popular genre at the time was classified as “hair bands”) and the mag was distributed as a high-gloss publication on American newsstands with a circulation of over 100K.

By 1992 the party was over. The magazine became defunct (for various reasons). The staff went onto other jobs. And the name gathered dust. Until now.

Resurrected online, Powerline covers hard rock/heavy metal music in general (truly From Glam to Slam!), as well as reminisce about the old days in the form of time-capsuled articles and experiences.

Backstage Auctions sat down with Pat Prince to talk about all things hard rock and heavy metal, the new online version of Powerline and the industry in general.

How did you start Powerline? And why?
I grew up reading magazines like CREEM and Kerrang! But I then became obsessed with seeking out and collecting metal fanzines – I loved Bob Muldowney's Kick Ass monthly and Metal Rendezvous — and the pure excitement of discovering new metal bands. Powerline was really born out of my love for fanzines and the metal underground but also my frustration of not being able to get enough of my photographs published in the metal press. I'd been sneaking my 35mm camera into metal clubs like L'amour in Brooklyn for years and taking photos of all the latest bands. Finally, in 1985, I figured I'd take my photographs and put them next to my ramblings about the bands I loved, so I started Powerline with a typewriter, pasteboards, and veloxes from my photographs. And, at first, I dropped off copies to sell in all the record stores in the tri-state area that carried metal. It progressed from there.

Since Powerline started as a fanzine. How much did the editorial content change upon hitting the newsstand?
After I teamed up with my friend Mike Smith in 1988, we merged the essence of the fanzine with the more popular hard rock/ metal acts of the time like Ozzy, Motley Crue, Bon Jovi, Skid Row, etc. It was really a great combination because it covered everything. Soon we were able to hire renowned metal journalists like Mick Wall (a favorite of mine from Kerrang!). And the graphics and quality became really fantastic. Some might of seen it as a sell out. But it was really an evolution.

What was your favorite issue to put together?
Each issue had its own great experience. But I would have to say the Metallica issue, September 1989. I was into Metallica from the very beginning of their existence but by the time I started Powerline in 1985, Metallica became too big to get access to. Finally, we were able to get an exclusive interview and make it a cover story, with great color live shots.

What was the strangest interview you've done?
L.A. Guns. It was in a hotel room in New York City and the band had their rock star hats on. They were rude and seemingly drunk out of their minds. My questions were repeated back at me and answered in a nonsensical manner. Steve Riley was laying on the bed and bouncing a rubber ball off the walls and giving me a juvenile play-by-play of it. I had brought Powerline t-shirts to give the band and Phil Lewis stood up and said sarcastically, 'Oh, great, t-shirts.' He picked one up and rubbed his crotch with it and then threw it across the room. Up to that moment Powerline had been a big promoter of LA Guns — not that that demanded my respect, but it certainly hurt witnessing this kind of behavior. I walked out of the room with Riley, Lewis, and Kelly Nickels in a laughing/giggling fit. I had loved Lewis' singing since he was in the UK band Girl, but I thought 'F*ck you. I don't care who you are.' The PR woman finally directed me to Tracii Guns' room. And walking in, you can clearly tell Tracii was in the middle of getting hardcore stoned. It was like walking into a hash den. But, completely opposite of his bandmates, Guns was one of the coolest musicians I've had the pleasure to meet. That's why when people ask me nowadays which faction of LA Guns I support — Tracii Guns' L.A. Guns or Phil Lewis' L.A. Guns — it becomes quite an easy question to answer.

How is the metal genre different than it was when you started Powerline?
Today's metal now has standardized extremities — it seems too forced at times. I like all kinds of metal for its musical value but I don't agree with this way of thinking. You don't have to be extreme to be intense.

Is it harder for a metal band to be recognized nowadays?
Metal seems to be making a comeback. Genres can be cyclical as far as popularity. But hard rock and heavy metal will always be there. It was very hard for metal bands to get recognized in the early - to mid-'80s— which made it seem more exciting, actually.

How are Metal fans/collectors unique? Do you collect metal memorabilia?
When you listen to a genre exclusively, you like to think that your music is the most unique, and its followers are the most enthusiastic. And there are some aspects of it that are unique. But, basically, fans and collectors are the same all over, no matter the genre. After being the editor of Goldmine I certainly realized that!
A lot of my favorite memorabilia, unfortunately, has been lost over the years. I had almost all the metal demos from the '80s, including Metallica's. And the heavy metal demos of the '80s were the most fun to collect and trade. It was a world onto itself — almost a secret society. And, unlike today's MP3s, bands wanted you to trade demos -- get the music out there. I'm glad I experienced it. The demos from bands like Malice and Mercyful Fate were better than a lot of the stuff that made it onto their studio albums. Brilliant stuff that you'd could only hear if you were part of that scene. And then you had bands like Surgical Steel that you can only hear on demo tape. It's a moment in time that you really can't recapture.

Why did you resurrect Powerline as a Web site?
I listen to all kinds of music now, but I had missed Powerline and the music it cherished being an important part of my life. Plus I got kind of sick of bands like Korn being seen as the face of heavy music. What about bands like Saxon, Riot, Accept, Raven and the hundreds of other great bands from the '80s — the ones that started it all?! They deserve the most respect!

What are Powerline's future plans?
To have Powerline conitnue to represent vintage Hard Rock/Heavy Metal bands. I love the idea of turning kids onto all that old school stuff for the first time. Kind of like how Kerrang! turned me onto it in the early '80s.

Powerline Social Media: