Tony Palermo

Tony gives Modern Drummer associate editor Billy Amendola a drum-centric, song-by-song breakdown of Papa Roach’s new album, Metamorphosis.

The tracking took place in studios A and B at NRG studios in North Hollywood. The drums consisted of a Pearl Masters 18x24 kick drum, DW 9x13 rack and 14x16 floor toms, a 6 1/2x14 Black Beauty snare, a Tama bell brass snare, and my 8x14 Pork Pie snare. I used a variety of Paiste cymbals, including a 22" 2002 power bell ride, a pair of 15" 2002 Crunch hats, a 22" Heavy Full crash, and a 20" Signature Heavy crash.

Days Of War: The record begins with a threatening stomp as well as my son’s actual cries. I brought him to the studio and we ended up tracking the stomps that day, so I set him on the floor and he was bummed. His cries felt so wrong but were also completely right for the overall vibe. The drums begin with left-hand quarter notes on the hats and a right-hand pattern on the snare. Then the kick drum comes in to match my left-hand quarters. The out is just the snare pattern played with both hands. It’s meant to be bombastic.

Change Or Die: This is my favorite rocker on the record. The song stemmed from an AC/DC–type drum beat and morphed into an in-your-face wakeup call. I used the Pork Pie snare, which we kept open and tuned in the upper range. When the single-stroke rolls come into the bridge, we opened the room mics up a bit more. I love playing this song simply for its energy factor.

Hollywood Whore: Another favorite to play. I appreciate how much space there is in the verses, which allows the true drum sounds to be heard. We kept it very organic as far as tones and sound replacements for the whole process. Both tracking rooms were very open and airy, allowing us to use different areas for mic placement.

I Almost Told You: I banged on a 20" DW kick with an oversized mallet for an added tom effect in the intro and re-intro. The verse is a super-slow ska beat, but getting the full opening and closing of the hats as well as the separation of the kick and snare was challenging. This is the only song where I used a 21" Dry Signature ride cymbal. What made it different was the fact that it was cracked, which gave it a unique cut-off and made it sound as filthy as the lyrics.

Lifeline: This was the last song written on the last night of our stay during The Paramore Sessions. It was written fairly easily, but when it came time to record the song I must have tracked it around fifty times—not because of my performance but because of us changing the beats so many times. I used the Black Beauty snare again.

Had Enough: The sounds on this track have to be my favorite on the record. Again, the room sounds are accurately captured with wide-open space and rich tones. We noticed after the fact that the feel is a bit like a U2 song, which wasn’t intended. The choruses are a big rock groove with the ride being struck for a washy effect.

Live This Down: This track came together during the recording process and I believe was the last one we tracked. Because we didn’t do much rehearsal on this I just tried to play for the song. When you don’t have time for the song to develop you just hope all your parts come out good enough. There is always something different you think you could have done, but that’s what playing live is for.

March Out Of The Darkness: I played a sparse kick pattern in the verses so that the snare and hats drive it more. I used the Tama Bell Brass on this one; it’s one of my favorite snares to record with because it has attack, body, and warmth. We took an alternate approach with the choruses. I just throw in stabs instead of playing an actual beat. Parts like that keep it interesting.

Into The Light: This was the first track we recorded. I really like the way I slam on the toms. It’s basically a single-stroke roll starting on the floor, with the left hand landing on the snare. The kick is pedaling through on the 1s to keep a foundation. Then it breaks into half-time for the choruses. For the bridge I kept the first thing I wrote, which was just a big tom-attack pattern. Mick Mars from Mötley Crüe came down and put his stamp on it with the guitar solo.

Carry Me: This beat is the most challenging one on the record. There’s a whole bunch of notes going on here—hi-hat accents on the upbeats and ghost notes during the verses, lots of snare ghost notes as well. It has a slight swing vibe to it until the choruses, which straighten out a bit. I’d like to think I paid homage to Jeff Porcaro on this one. Definitely one of the most emotional and exploratory tracks of the band’s career.

Nights Of Love: This track came out of an improv jam and represents us stretching into new musical territory. When we finished the improv we looked at each other and new it was something cool and different, but we weren’t sure if it was going to fit with the rest of the songs. But we decided we needed to include this one, so when it came time to track everyone agreed that the demo was magical and that I should play along to it. It was easier to follow what I had captured by doing it that way; the beats and fills are a mirror image of what I did on the demo.

State Of Emergency: My favorite thing about the drums here is the tribal beat in the bridge. The song actually started with that beat for the verses, but we soon realized it was too busy to sing over and moved it to the bridge. The song goes from your basic half-time feel in the verse to a straight-ahead driving beat in the chorus. During the re-intro we threw some slap-back on the drums to give it a varied sound. Before we even began sequencing the album we knew this track was the closer. Plus we kept a haunting guitar part for the outro, which was recorded at the Paramore during the writing sessions. You can hear a DJ from some radio show being transmitted through the speakers. We think he’s talking in Portuguese; he’s yelling or preaching or something, which gives it a mysterious, ghostly vibe. Or maybe the house was just creating that!

For more on Tony and Papa Roach, visit www.paparoach.com. Live photos by Sayre Berman.

FONTE: http://www.moderndrummer.com/updatefull/200001759/

FOTO:

Oddio.. mi piscio in braghe dal ridere auauhahuahuhuahua
Leggete questa XD


PAPA ROACH's S**tty Manchester Concert - Apr. 17, 2009

U.K.'s Rock Sound magazine has received the following e-mail:

"Hi, Rock Sound, I just thought I'd let you know that last night [Thursday, April 16], at the PAPA ROACH show in Manchester, somebody did a shit at the back of the mosh-pit! About halfway through PAPA ROACH's set, everybody started commenting on how bad the smell was. I guess it was like someone had farted or something, but it was MUCH worse. All of a sudden, there was a massive gap in the crowd and my friend told me that someone had actually done a shit! I turned around and saw this guy with cleaning materials wiping it up!!! Thank God I didn't step on it. I don't think the band were aware of it, I didn't hear them tell people to do it anyway, I think this person just decided he needed to shit. I have no idea whether people were skidding in it or whether there was wiping action."

Rock Sound obviously needed to check that this was true, so the magazine asked Neil Mahony (of AMPLIFIER fame), who was helping out at the show. This is what he had to say: "I can confirm the PAPA ROACH story. The smell was dreadful and the security were livid. As far as I know, the guy never got caught. Stealth shit."

Fonte: Blabbermouth.net


PAPA ROACH Singer Calls Music His 'Lifeline' - Apr. 20, 2009

PAPA ROACH has scored the second No. 1 hit of its career and first at mainstream rock stations with "Lifeline", the current single from the band's new CD, "Metamorphosis". Frontman Jacoby Shaddix told The Pulse of Radio that the tune is about what making music means to him. "There's a constant battle in my life to evolve and become a better person, and in doing that, living in this crazy, chaotic world and trying to maintain like a focus of going, 'How can I progress as a human being?' you know," he said. "And so you're always looking for that lifeline, you know, and I mean it sounds cliche, like, my music is my lifeline to the world. It's really ultimately what's made me feel like a human being, because it connects me with so many people."

"Lifeline" is also No. 3 on the Modern Rock chart.

Video footage of Jacoby Shaddix talking about "Lifeline" can be viewed velow.

The band's first No. 1 hit was "Last Resort", which hit the top of the Modern Rock chart back in 2000.

PAPA ROACH is also helping to throw out a "lifeline" to families losing their homes due to the current state of the economy. The band is working with a charity called Loaves And Fishes in its hometown of Sacramento, California. More information can be found at SacLoaves.org.

PAPA ROACH is currently on tour in Europe and will return to North American stages next month.

WEB-EXCLUSIVE INTERVIEW: PAPA ROACH’S JACOBY SHADDIX ON MICK MARS, MYSPACE, AND 'METAMORPHOSIS'

Revolver Magazine

Earlier this year Papa Roach celebrated their 10th anniversary of being a signed band with two special shows in LA and NYC. Revolver caught up with frontman Jacoby Shaddix on the day after the latter gig, and he was clearly grateful to reach such a milestone. With their latest, Metamorphosis (Interscope), Papa Roach have released six albums in those 10 years (including unsigned years, they’ve been together for 16), which isn’t a Sisyphean feat exactly, but for a group once lumped into the oft-maligned nu-metal scene, it represents an impressive amount of perseverance and progression. By always rolling with the punches and pushing forward, Shaddix & Co. have remained active while many of their peers have disbanded or simply faded away. Now, on a break from Papa Roach’s high-profile tour with Avenged Sevenfold and Buckcherry, the frontman talks to us about life, live shows, and leaving nu-metal behind, all with the voice of a man thankful for the chance to continue doing what he loves.



REVOLVER Papa Roach tours nonstop—is it exhausting?
JACOBY SHADDIX Nah, man, this is what it’s all about for a rock-and-roll band like us—getting out there in front of the people. For us, it’s the best thing about this band. It’s the essence of rock and roll. That’s why I started playing music, just to get up there and go off. Shit, we’ve been a band for 16 years now, and it always gets us off. Every kid can go on Garage Band and create a song, post it online, upload a MySpace photo, and become an Internet sensation, but you gotta be able to step on the stage and back it up.

Where have you liked playing the most on this tour?
Well, we’ve been rolling through the Midwest, and it’s been great. Every show we’ve done on this tour has been fucking awesome. We just did a 10-year anniversary show last night at the Blender Theater in New York—it was a small little venue and the energy there was off the chain.

How are you feeling about Metamorphosis right now?
Great. We’ve been playing new material for the fans, and it’s cool to actually watch them grow with us. We’ve never set up a record like this before. Every time we do a new record, we’ll do a few club dates, then release the record. This time, playing in front of so many people to set up this record is huge. We have a really good Internet buzz going on right now. We’re really going for it this time. We put “Hollywood Whore” on the Internet first, shot a video for it, and we really saw a grass-roots movement in what we do. We put out a single called “Lifeline,” and it’s the fastest-moving single we’ve ever had on the radio. It looks like it’s going to be No. 1 on Active Rock, which is huge for us. After 10 years—16, but 10 years in the big business—to still be relevant, to still have an impact on rock music, is totally a blast.




Why, do you think, Papa Roach have stayed relevant while so many of your peers have fallen by the wayside?
I would say evolution and progression in our sound has helped us stay relevant as a rock-and-roll band, as well as our dedication in what we do and our passion for our live shows. When the industry turned their back on Papa Roach, that’s all we had—our live show. We know we’ve never been the critics’ darlings, but neither were bands like Led Zeppelin, and they went down in history as one of the best. That keeps us sane—to know that no matter what, people still think we’re doing the right thing. People are still coming to the shows, singing along with the songs, picking up our records. It feels right, and we feel relevant.

Do you ever feel tied to a specific part of your history? The “Last Resort”-era Papa Roach, the “Scars”-era Papa Roach?
We’re always progressing, and that’s what our fans expect from us now. We never know what’s coming next. I think Metamorphosis is our most fearless record to date, as well as our most diverse yet cohesive album. We want people to treat it like a vinyl record—put it in, press play, and listen to it all the way through.

How was working with Mick Mars on the song “Into the Lights”?
Awesome. We’re out on Crüefest, and I said, “You know what, fuck it. I’m gonna go ask Mick if he wants to come jam on the record.” I go into this dressing room, and I’m chatting him up, and I ask if he wants to be on the record. He says, ‘Seriously?!’ I’m like, “OK, this is ridiculous. Of course, we want you on the record!” So we go out to a studio in Indiana, and he came in and just shredded it out for a few hours. He was totally open to our input, but we said, “Dude, we want some classic Mick Mars—some big dives, some wah, and some shredding.” And he laid it down. It’s cool to have a living legend on our record.

Do you guys ever feel like the new Mötley Crüe?
I’m not sure I’d say that, but we are going for that epic rock-and-roll story. I can identify with that. As a band, we’ve had to struggle at times, but overcoming adversity is what makes a band stronger. When you get through the bad times and get to the next good times, it means so much more to you to know you’re still around, kicking ass.

Do you ever just want to throw in the towel?
There’ve been points in my life when I’ve questioned what I’m doing, but then I get onstage, and I’m just hooked back up. I’m connected again. My music is my lifeline to humanity. To contribute to the flow of life through music is definitely a blessing, and I’m grateful for it.

Interview by Chris Krovatin

Messaggio di jacoby

Thursday, April 30, 2009

UPDATE FROM JACOBY

Was up yall!!!!!!! Just landed back in the USA.....fresh off the plane from our euro tour. Just want to say thanks to all the love and support we got from the UK and main land europe. The whole tour sold out.......thx!!!!!! It was great to play a full set. This was the first time we have done a 90 minute set........it kicked my ass. But, saying that I am a glutton for the punishment. See you guys in june for festivals!!!!


Now we are off to vancover canada to shoot a video for "I almost told you that I loved you" aka the longest song title in papa roach history. Hahaha. It will be as sleazy as the song itself. RAUNCHY!!!!!! So look out for some behind the scenes stuff in the next week.


Peace

Jacoby "betta ask yo mama" shaddix

Papa Roach - All Change
The former poster boys for angsty nu-metal are all grown up and worried about the economy. Alison B talks to Papa Roach
by Alison B, first published in LondonTourdates #044 ,10th April 2009


http://www.tourdates.co.uk/LondonTourdates...oach-all-change

It’s late in March and Sacramento rockers Papa Roach - singer Jacoby Shaddix, guitarist Jerry Horton, bassist Tobin Esperance and drummer Tony Palermo - have just hit Nashville, Tennessee on a road trip with sleaze rock mob Buckcherry.

Declares Shaddix, he “feels really good” right now. Aside from enjoying a successful run of shows he’s riding the high of finally seeing Papa Roach’s fifth major label album Metamorphosis hit record shop shelves the week before, something he agrees was a huge relief - “for real, man” - after the release was held back for a number of months. The none-too-shameful reason for it’s late delivery was an invitation to join Motley Crue’s ‘Cruefest’ franchise, a package tour which took them across America right through last summer when the album had been due to be completed.

From the number of Tommy Lee-isms that pepper conversation with an upbeat Shaddix (everything is “for real”, every other word “man”, or “fuck yeah!”), you might believe the guy has spent half his life on tour with Motley Crue’s drummer and his party monster brethren in likes of Buckcherry. Truly, though, the man you meet today, who exudes confidence bordering on rockstar arrogance, is in many ways barely recognizable as the nu-metal icon he was even five years ago, and in this sense there could not be a more fitting title than Metamorphosis for Papa Roach’s latest release.

Go back to the year 2000, when nu-metal was at it’s angsty apex and Papa Roach were it’s premier tortured poster boys, and you’re looking at a very different band. Last Resort, the first single to be taken from major label debut Infest set up shop with a clunking riff and the opening rap “Cut my life into pieces / this is my last resort”, which soon became something of a manifesto for the genre’s predominantly teenage fans. When it came to 2001’s follow-up single Broken Home, concerning Shaddix’s parents’ divorce, the frontman further channeled the fears of his band’s young followers by admitting his own insecurities when interviewed about the release. “Halfway through recording the first verse I fell out crying”, he confessed to LiveDaily, adding “lyrically, Papa Roach is my counseling”.

Though the group’s sound has always been a work in progress (by the time of sophomore album LoveHateTragedy the most dating rap-metal influences were already almost completely gone) their greatest reinvention truly began with 2006’s hard-rock informed Paramour Sessions, before Metamorphosis rendered the self-pity and introspection of the past virtually undetectable amid swaggering riffs and Shaddix’s spotlight-seeking vocal performances.

For the singer the biggest progression has been “lyrically... paying attention to the world around me. I think this is one of our more socially conscious record”, he posits, “as well as being reckless and loose and off the cuff. I would say a turning point in the writing was looking at my home town Sacramento. In America right now shit is hitting the fan with the economy and Sacramento is the leading place for home repossession right now - up to 500 families a day are losing their home, it’s crazy right now”, he sighs.

Swapping teen angst for such perspective has not just given Shaddix a “social conscience” in his songs, but apparently a better understanding of just what a blessed position he is actually in and the ability to enjoy that rather than dwelling on his difficult upbringing.

As a result Metamorphosis also has its share of songs living in the high moments of the past few years, not least Into The Light, which includes a searing solo from Motley Crue guitar maestro Mick Mars. “Having a fuckin’ rock legend on our record”, Shaddix exhales, considering quite what this means to him, “if you would have told me half the things we’ve done with this band 10 years back I woulda told you that you were full of shit. And now we’re doing it, we’re blessed. And Mick, he’s a really inspiring man. Especially with his health issues [Mars suffers from Ankylosing spondylitis, a form of arthritis causing the spine to fuse and making his return to the road with Motley Crue little short of a medical miracle], the attitude he has towards his crazy life makes me look up to that guy a lot”, he says with reverence.

The inspiration that playing Cruefest provided is stamped all over Metamorphosis. James Michael, singer with Crue bassist Nikki Sixx’s side project Sixx : AM who also participated in last year’s tour, proved another influential collaborator “opening us up into a whole different realm of the record”, according to Shaddix, who says before this meeting of minds “we’d never recorded on the road before”. Sixx himself meanwhile, who appears to have found time for a quite dizzying array of creative endeavors - from fashion design to photography - since kicking the drug problems which became the stuff of legend following the publication of his band’s now infamous autobiography The Dirt, was responsible for shooting Papa Roach’s latest promo pictures, making Shaddix and co “the first full band he’s ever done a photo shoot for”.

The parts of Metamorphosis that didn’t take shape amid the insanity of the Cruefest run were forged in contrasting solitude during a return visit to the Paramour Mansion, which lent it’s name to Papa Roach’s previous album. Allegedly the band were first inspired to give the live-in recording experience the mansion offered a go after fellow nu-metal veterans Slipknot informed them it was “the only way to make an album”, a sentiment Shaddix apparently came to agree with. “It’s just about living somewhere, it could be anywhere, but [it allows me to] separate myself from my day-to-day life and just put myself deep into the writing process without stepping away from it for one moment”, he enthuses.

“When we just sit in a house together for a month and make music we go places we might not normally go; you’re just so immersed in the creative process that anything goes. We’re definitely blessed to be able to do that comparative to back in the day, working day jobs and then going to the rehearsal space and making music”, the frontman acknowledges.

Those days may be long gone but Shaddix - for all the rockstar bravado he throws around now - has not forgotten the roots they represent. He recently played two anniversary gigs in Los Angeles and New York, marking a decade since the release of Papa Roach’s major label debut, and highlighting the musical journey they’ve been on, and so the significance of Metamorphosis at this point in their career. “We always strive to progress and evolve, and that’s what has maintained our relevance as a rock ‘n’ roll band”, he reckons. “I equate music with sex”, he goes on, opening an analogy which would give even Motley Crue a run for their money when it comes to sleazy soundbites.

“If you have sex with the same person and in the same way and in the same routine and in the same positions you’re gonna get tired of it. You wanna flip it up! Go from the missionary to the doggy style to the 69, get down! Right now we’re in another stage of our sexual rock ‘n’ roll career...”.

Papa Roach play The Forum on 17 April. For ticket information call 0844 847 2405.