I’ve said a couple times now that I only like comps after the fact. When they’re first released and they need to be reviewed, they’re a pain in my ass, and they sit and sit and nag on me until I finally write them up. It’s not until a few years later, when the material is rare as hell and a few of the bands have collapsed, that I’m even remotely interested. You say Welcome to MeteorCity has a different version of a song from Lowrider? Sign me up.

For a while now I’ve been trying to chase down a copy of Bastards Will Pay: A Tribute to Trouble to absolutely no avail. Amazon, eBay, Gemm, physical stores, stoner and doom distros — nobody’s got this friggin’ thing. And yeah, I know I can just type it into Google and download it. I don’t wanna do that. I want to own it. I like my little plastic discs, thanks. You keep the cloud.

To quell my tributary jones and in the meantime hear a couple badass bands, I recently placed an order on the cheap for a copy of Blue Explosion: A Tribute to Blue Cheer on Black Widow Records out of Italy. Released in 1999 and featuring the likes of Drag Pack and Norrsken, among others who don’t exist anymore, it fits my law of comp appreciation perfectly. I don’t even know Garybaldi, but their version of “Fresh Fruit and Iceburgs” is killer and doomed and gives me something to look up tonight while I’m sitting on my ass, so that’s an immediate plus.

Perhaps best of all, though, is that Blue Explosion is bookended by Pentagram. And not just any Pentagram — it’s Joe Hasselvander on all the instruments and Bobby Liebling on vocals, and that’s it. They were working with Black Widow at that point (released Review Your Choices in ’99 and Sub-Basement in 2001 with the duo lineup), and so the disc opens with a nine-minute version of “Doctor Please” on which Hasselvander pretty much just jams with himself. It’s amazing, and his tones are unbelievably heavy. Internal Void follows with “Parchment Farm” and it’s like a one-two punch out of the Doom Capitol.

And Norrsken (the Swedish band from which both Witchcraft and Graveyard were born) are indeed a highlight — they present “Pilot” with expectedly killer vintage sounds — but Natas doing “Ride with Me” and Rise and Shine‘s take on “Sun Cycle” are also standouts, and “Peace of Mind” might be the most purely psychedelic I’ve ever heard Ufomammut sound. Whether it’s the boozy Euro-rock of Space Probe Taurus or the loose organ jamming of Standarte, I’m into it, and the fact that it’s all Blue Cheer material makes it even better.

So yeah, if it was coming across my desk for review now, I’d probably be all huffy-puffy about it and bitch about how compilation reviews are basically just plugs for the bands involved and there’s never any flow or basis for any overall analysis of the release, but in buying something like Blue Explosion: A Tribute to Blue Cheer, I don’t give a shit. It rocks and the rest is secondary to that. For something that was a consolation prize, I definitely feel like I won out.

Still gotta find that Trouble tribute, though.

The YouTube info tells the story:

When Saint Vitus first visited Greece (2/2/2010), Violet Vortex did not have the time to rehearse to play a full show as it was proposed. Instead they played an Obsessed/Pentagram six-minute medley with Wino on vocals, when St. Vitus finished their show. Enjoy!

So the situation seems to be that Greek doomers Violet Vortex — whose only full-length to date, Lure Elegant, was released in 2001 — were supposed to open for Saint Vitus, couldn’t for whatever reason, and wound up doing a couple songs after the Vitus set with Wino singing. Am I wrong or does that sound like the best deal in the world? “Gee, sorry we couldn’t open the show like we said we would, but how about we kick ‘Forever My Queen’ with one of the greatest doom frontmen ever instead?” Sign me up.

And yes, they do “Forever My Queen.” They also do “Hiding Mask” from The Obsessed‘s 1991 classic, Lunar Womb, and they hold it down. Watching the clip, you’d never know Wino had just played a show with Vitus either, since he pretty much nails both songs. I guess sometimes life presents strange situations and this is one of them, but anyway, near as I can tell, this clip is a one of a kind, which makes it perfect fodder for a Wino Wednesday.

Hope you have a great one, and enjoy:

Of all the doom albums that have come out of America since the birth of the genre, these are probably the two that are the most singularly influential, the most pivotal, and at their base, the most doomed. Saint Vitus released their self-titled debut on Greg Ginn‘s SST Records in California in 1984, and one year later, the East Coast answered back with Pentagram‘s Relentless essentially marking the beginning of what we think of today as Maryland doom. The question of which is the superior album seems ridiculous even to ask, since I feel like what we should be doing is just being glad they were both made, but here goes:

Saint Vitus‘ Saint Vitus flew directly in the face of what was expected both of SST and of the SoCal underground. It was slow, it was lurching, and it was miserable. Saint Vitus did not have Black Flag‘s sense of self-righteous social rage — they had slow suicide with booze and pills. Their message was not of rising above, but of being buried at sea. Scott Reagers‘ vocals remain a blueprint for doom singers to follow, but try as so many do, the same black magic has never managed to be captured. Together with the foreboding bass of Mark Adams, the noise-infected guitar of Dave Chandler and Armando Acosta‘s unbreakable plod, the combination of elements was overwhelming. Even now, listening to Saint Vitus makes you feel like you’re drowning in it.

But if Chandler‘s guitar tone ever had a rival in that era, it came from Victor Griffin. One listen to the churning malevolence of “All Your Sins,” and there’s no question you’re hearing some of the most wretched doom since Sabbath‘s heyday. As much as Pentagram came to be known later for frontman Bobby Liebling‘s fabled drug addiction and a constantly rotating lineup, with Griffin, drummer Joe Hasselvander and bassist Martin Swaney (who had performed together as the trio Death Row), the band’s overdue first full-length was a milestone, and 26 years after its release, the title Relentless feels no less appropriate. “Sign of the Wolf,” “The Ghoul,” “Relentless,” “20 Buck Spin” — these are the standards by which we measure what doom has become since.

I could go on at length about both these records, but you get the point. Here’s what it boils down to: Two epics, two black covers, two of American doom’s greatest, and you’ve got to pick one. Damned if I can choose, but if you’re feeling more decisive, please, have at it in the comments.

I don’t know whatever happened to Last Days Here, the documentary about Bobby Liebling, but the When the Screams Come DVD that Metal Blade is putting out at the end of the month isn’t it. It’s Pentagram‘s performance at the 2010 Maryland Death Fest, which has an appeal all its own, but I was looking forward to seeing that doc and hope it makes its way out soon in one form or another.

This was posted on the forum earlier today, but here it is with the DVD cover too:

Metal Blade Records is proud to release the first ever Pentagram DVD in the 40-year history of the band! When The Screams Come features a full Pentagram show, recorded on May 30, 2010, at the tail end of the Liebling / Griffin reunion dates at Sonar in Baltimore, Maryland, during Maryland Deathfest VIII! There is also exclusive interview footage with vocalist Bobby Liebling!

When the Screams Come track listing:
1. Day of Reckoning
2. Forever My Queen
3. Ask No More
4. Run My Course
5. You’re Lost, I’m Free
6. Review Your Choices
7. Relentless
8. All Your Sins
9. 20 Buck Spin
10. Sign of the Wolf
11. When the Screams Come

When the Screams Come will be released in North America on Aug. 30. Clips from the DVD as well as music from the band’s latest album, Last Rites, can be seen and heard now on metalblade.com/pentagram. Several pre-order bundles are available with Last Rites vinyl, an exclusive t-shirt and more. Fans can also purchase limited colored vinyl European imports of Last Rites all exclusively on Metal Blade‘s Indiemerch webstore HERE.

It was a good one.

I thought it was strange that they played “Forever My Queen” second. They always seem to give that one away too early. “20 Buck Spin” is a great song, but kick off that last section of the show with “Forever My Queen,” then push it into “Pentagram (Sign of the Wolf)” and close with “When the Screams Come,” and man, it’s gonna take people a while to recover from that one. Anyway, Pentagram rules and this is what they played at Roadburn on April 14, 2011.

The Pentagram story is as long as the story of heavy metal itself. In 2011, vocalist Bobby Liebling marks 40 years since the inception of the seminal Washington D.C. (it’s the “Doom Capitol” for a reason) outfit, and with the much-anticipated release of Pentagram’s Last Rites – a title they’ve been tossing around since this latest inception of the band got going in 2009 – the start of their fifth decade could legitimately be a new beginning for them. Liebling, who has a legacy of drug abuse trumped only by his band’s influence, is reportedly clean and staying that way. Now married with a daughter (of doom), he’s also reunited once more with guitarist Victor Griffin (also of Place of Skulls and Death Row), whose mere presence goes a long way in making the difference between Last Rites being Pentagram, the band, and The Bobby Liebling Show. Together with bassist Greg Turley (also Place of Skulls and Griffin’s nephew) and Place of Skulls drummer Tim Tomaselli, Pentagram 2011 present the first new studio album under the moniker in seven years, and easily the best batch of new material they’ve had in more than a decade.

Of course, Last Rites isn’t all new material. Catchy single “Into the Ground” and hard-hitting closer “Nothing Left” date back to Liebling’s pre-Pentagram band, Stone Bunny’s 1970 album, Nothing Left, “Call the Man” dates back to demo tapes from 1971, and Last Rites highlights “Walk in Blue Light” and “Everything’s Turning to Night” were available in rougher versions on Relapse Records’ First Daze Here (2002) and First Daze Here Too (2006) collections of vintage ‘70s-era material. That still leaves six of the 11 total tracks unaccounted for in Liebling’s vast and sometimes murky catalog, and though a song like “Treat Me Right” has that classic Pentagram feel, it’s easy to hear the modernity on songs like “8,” “Windmills and Chimes,” “American Dream” (on which Griffin takes the lead vocal with Liebling backing during the chorus), “Horseman” and “Death in First Person,” which, while definitely still riff-based and in line with what one might expect from Pentagram, have more complexity to them – especially in Griffin’s guitar – than the older, more rudimentary material. I’ll add also that my estimation of what’s new and what’s not (apart from what can be found on prior releases) is speculative on my part and just based on what I’m hearing in the music. In a career as long and

The effect that mix of old and new has is that Last Rites comes across as a healthily varied collection of songs. “8” is perhaps the most satisfying of the new-sounding cuts, and the record as a whole isn’t without its missteps, but taken in the context of both the Pentagram history and 2004’s disappointing Show ‘em How outing, it’s hard to think of Last Rites as anything but a net victory both for the band and longtime fans. They make the right move opening with “Treat Me Right” and Griffin’s signature (and fucking excellent) guitar tone ringing out like a beacon letting you know this is, in fact, a Pentagram record you’ve just put on. The song is short, repetitive of its title line, and as I already noted, vintage Pentagram. I’d say it’s definitely older, but can’t find it on any previous release, so can’t be sure. In any case, it’s an excellent show of what this version of the band – over the years, more people have been in and out of Pentagram than almost any other of the Doom Capitol bands – can do. To be fair, they’ve had something to prove all along since Liebling got the band going again, and it’s obvious the intent behind starting Last Rites with “Treat Me Right” was in shutting up the better part of the doubters out there among both critics and the general listening public. There’s no arguing with it.

Second track “Call the Man” has, like most of the songs, an excellent solo from Griffin, but also a classic stomp in its central riff that seems to go further than the mere 3:49 it lasts. Liebling is one of the rare vocalists in metal who can give a sense of his showmanship on a studio album and not fall completely flat, and that’s clearly at play here, but when it comes right down to it, the lyrics leave me wanting and there are other cuts on Last Rites I think might have worked better to back up “Treat Me Right.” To the credit of the band as a whole, Turley doesn’t get lost in the melee of leads and crash hits, and the material across the board sounds thick and heavy. There’s something to be said for striking that balance, and even though there are some less than landmark moments throughout, the sound of Last Rites in general is perfect for what Pentagram should be doing after 40 years. They’re neither trying to ape their ‘70s sound (as many are), nor affecting some bizarre and wrongly interpreted take on “today’s metal.” The vision of Last Rites is that of an accomplished doom band claiming their due. As the album proceeds, they seem more and more likely to get it.

It’s the first of the two Stone Bunny inclusions and Pentagram played it on their most recent live shows, and sure enough, “Into the Ground” proves a high point of Last Rites as well. It’s an excellent balance of doomed atmosphere, classic heavy rock and Griffin’s added ringing notes to the chorus do well to blend it in among the newer of the songs. Liebling seems to relax a bit on the vocals as compares to “Call the Man,” and as he double-tracks the chorus, his voice seems to be in the best shape it’s been in, in a long time, and it doesn’t sound like studio trickery. Last Rites is unquestionably a modern production, and there are liberal effects put on Liebling’s voice, but the underlying performance is there to start with, as it has to be for him to be able to pull off the material. “Into the Ground” leads almost directly into “8,” which starts with Griffin playing subdued notes over Tomaselli’s tom work before launching into one of Last Rites’ most effective riffs. The verses return to that quieter feel, and Liebling plays to that, but a driving chorus ups the energy, and as the longest song on the album at 5:02, it’s also a highlight among the newer-seeming pieces. Griffin shows personality in his encompassing layers of guitar, and though it’s moodier than “Treat Me Right” or even “Into the Ground,” the lyrical chronicle of Liebling’s dark times feels heartfelt and is all the more compelling for it.

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No sense in delaying this one, the headline pretty much says it all. The Last Rites, the new album from doom legends Pentagram, is due out April 12 on Metal Blade.

The PR wire speaks:

Pentagram, who has been churning out widely admired hard rock/doom metal for over four decades, has just revealed the tracklisting and artwork to their highly anticipated full-length album, Last Rites. Last Rites, out on April 12 via Metal Blade Records, contains 11 new tracks of behemoth tunes that fans have been clamoring for since the last Liebling/Griffin masterpiece was released in 1994 (Be Forewarned).

Last Rites tracklisting:
1. Treat Me Right
2. Call the Man
3. Into the Ground
4. 8
5. Everything’s Turning to Night
6. Windmills and Chimes
7. American Dream
8. Walk in Blue Light
9. Horseman
10. Death in 1st Person
11. Nothing Left

Cover art for Last Rites was handled by Mo Moussa (website here) who is best known for his work with Marvel & DC Comics. Mo Moussa‘s other credentials include New Line Cinema, Nickelodeon as well as the four major TV networks. A Philly native and a huge fan of underground music, his work also graces the covers of several of his favorite local bands including Total Fucking Destruction.

As I dove across two lanes of traffic to get to what turned out to be the wrong entrance to the southbound Garden State Parkway, I couldn’t help but be reminded of what happened the last time I tried to see doom mega-legends Pentagram in New York and failed viciously. “Going south to go east?” you ask? Typical.

I rolled into Europa on Meserole Ave. in Brooklyn at maybe 8:30. Bezoar had already played, but that left Judas Priestess, Hull and Pentagram still to go, in that order. Judas Priestess took their time setting up and went on after nine. I knew already it was going to be a late night. A late Thursday is a romantic idea. It’s the ultra-metro NYC myth of “nobody goes out on Friday anymore,” as though no one in the audience had to get up the next day and go to work. For what it’s worth, I didn’t make it to the office today.

Once they got going, Judas Priestess kicked off to a solid start. Everything you need to know about them but their pedigree (members of Van Helsing’s Curse and Angel Rot), the name says. They are, indeed, an all-female Judas Priest cover band. Lots of very elaborate hair, lots of leather, lots of “hey, let’s rock it!” attitude and I had to wonder how many members of decent original bands were in the audience who’d kill to open for Pentagram while Judas Priestess ran their way through a too-fast version of “Metal Gods.” I can’t count myself anymore, but still.

They played “Deep Freeze” from Rocka Rolla in an effort to throw the doom crowd a bone, and it was appreciated. By the time they left the stage, Europa was so crowded that I could barely move. I stood by the bar in the corner and watched as patron after patron came over thinking the bathrooms were down the hallway. They weren’t, and I disappointed several dudes in telling them they had to go all the way around the claustrophobic clusterfuck of humanity to get to the other side of the bar. Too bad.

Hull were good. I like Hull. I’ve known those guys for years in a hand-shaking, “Hi, how are ya?” kind of way, and I’ve watched them grow over the course of however many of their shows I’ve seen into a real force on stage. They were heavy and loud, and they closed with the epic “Viking Funeral,” which might have been a bit much, but was still cool. They’re supposed to have a new album in the works. I look forward to hearing it.

The draw to Pentagram this time around — aside from the fact that they have a new album and thus new songs to play — is that recent Obelisk interviewee Victor Griffin is back on guitar. He had some amp problems before their set, meaning more delays, and they finally got started after 12:30 or so. Not that you need me to say it, but it was late.

Griffin‘s tone was dead on, and he wore the Pentagram songs like a well-fitting shoe on stage. It’s so rare to see a person so obviously born to do what they’re doing, but watching Victor Griffin play doom, that was the feeling I got. Vocalist Bobby Liebling‘s well-reputed stage antics were relatively subdued compared to other times I’ve seen the band, but technical problems are a momentum-killer and as I’ve already said, it was late, so it’s understandable. He still sounded pretty good, and the rhythm section of bassist Greg Turley and drummer Tim Tomaselli (both imported from Griffin‘s other band, Place of Skulls) were in the pocket the whole time.

Even with all the people who’ve been in and out of Pentagram over the years, it’s kind of strange to see Liebling fronting what’s basically Griffin‘s band. Hard not to get a feeling that history is repeating itself, remembering that it was the Griffin-led Death Row that became Pentagram‘s most classic lineup in the ’80s when Liebling joined on vocals. I didn’t get the chance to bring up the parallel to Victor Griffin, or to anyone else, for that matter, because I was too miserable, crushed in by the bar.

The new songs sounded fittingly riffy, and I expect that when Last Rites hits, it’ll be well received, at least by doom heads. Liebling‘s well-publicized sobriety has really given the band new life, and although I was worn out by the end of the show, I don’t think he was. They closed with “Pentagram (Sign of the Wolf)” and threw most of what you’d expect into the set among the new cuts. “Forever My Queen” is always a highlight.

The crowd had thinned out some by the end of the set, so I was able to make my way over to the main area of the venue to watch them finish. It’s astounding, the love that’s behind this band. I know they got paid to be there, but given how late it was, they had every right to cut the show short, or to half-ass it, and they absolutely didn’t. And when Bobby Liebling thanked the crowd at the end and said he loved New York, I didn’t think I was being paid rock-star lip service. He meant it. That’s the difference.

I got back to the valley at 3:45AM, lucky to be alive. I haven’t slept like that behind the wheel in a long time, and if I-287 hadn’t been a ghost town on my way back North (my route was circuitous and affected by my company for the show; would take a longer time to explain than is necessary), I have no doubt it could have been very unpleasant. Last thing I did before head hit pillow was email work and tell them I’d be late this morning. You can see above how that turned out.

Legendary American doom guitarist Victor Griffin — of Death Row, Place of Skulls and Pentagram — and I spoke over the course of two consecutive nights. When I called the first night for the interview, he was in the car, listening to an early mix of Last Rites, the new album by Pentagram — whom he rejoined earlier this year — and though that wasn’t the intended topic of the discussion, it was bound to take up some of the time.

What instigated the conversation was the newest record by Place of Skulls — Griffin‘s priority band. Dubbed As a Dog Returns, the album is unquestionably a reboot for the trio of Griffin, bassist Lee Abney (also of Death Row, who reunited for this year’s Roadburn festival in The Netherlands) and drummer Tim Tomaselli. In addition to getting back to their doomed roots, As a Dog Returns also revitalizes Griffin‘s lyrical explorations of his Christian faith, songs like “Breath of Life” and “He’s God” as open and honest in their subject matter as I found Griffin to be in our talk.

The second night of the interview, Griffin was in his studio working on some solo overdubs for Last Rites, and as we moved from Place of Skulls and his beliefs to his return to Pentagram and working once again with vocalist Bobby Liebling, whose sobriety has been discussed here in the past, Griffin took a step back to take a look at both bands’ overall place in doom, and his as well, opining on why in its 30-plus years as a genre, doom has never really hit the mainstream in the way of some other styles, and whether or not he’d even want it to.

Fact of the matter is this: I could go on and on about what Victor Griffin said or whatever, but what it rounds out to is this is one of the best interviews I’ve ever done. For The Obelisk or any other outlet. Victor Griffin was more sincere in his answering my questions than I could have possibly asked, and at the end of the second phone call, I felt like I genuinely knew more about his perspectives on life, music, and God. I hope that as you read through the 7,400-word exchange (with a centered photo to differentiate between the two days), that comes across more than anything else.

Q&A is after the jump. Please enjoy.

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What makes it even better is that it’s not just Pentagram, meaning Bobby Liebling and whoever he could hand a guitar to that week, it’s Pentagram with Victor Griffin riffing out, which is pretty much as good as Pentagram gets.

Also announced for the festival of festivals are Soilent Green, French post-black metal enigmas Alcest, Blood Ceremony, Ghost (not the Japanese experimental outfit, but a Swedish black metal band on Rise Above), and In Solitude. Of course, there’s plenty more to come, but here’s the Penta-news from the PR wire:

Long-running D.C. doom legends Pentagram, with riff-meister Victor Griffin back in the fold, have been confirmed for the Thursday Roadburn date, Thursday, April 14th, 2011.

Pentagram had an inestimable impact on today’s burgeoning doom metal and stoner rock scene. Indeed, we at Roadburn Festival feel that Pentagram is on par with more widely-recognized pioneers such as Black Sabbath and Blue Cheer!

Come celebrate over three decades of primordial American doom with Pentagram at Roadburn Festival 2011.

Sponsored by Terrorizer and Germany’s Rock Hard, Roadburn Festival 2011, including SunnO)))’s special event, will run for three days from Thursday April 14 to Saturday April 16 at the 013 venue and Midi Theatre in Tilburg, Holland. There will be an additional afterburner event on Sunday April 17, 2011.

Maryland‘s is pretty much the style people mean when they say “traditional doom.” There are three things you want to know right away about the Maryland scene, and they are as follows: Pentagram, The Obsessed and Hellhound Records. With that as your starting point, you can’t really go wrong, but like any fertile bandscape, Maryland (and, by extension the D.C., or “Doom Capitol” scene) has much more to offer the curious listener than just its biggest bands.

In addition to the five albums I’m listing here, you might also want to check out material from Iron Man (Shadow Kingdom has a couple cool reissues and their latest album), Unorthodox, Against Nature, Spirit Caravan, Wretched, Place of Skulls, Nitroseed and many more. But, to get you introduced to the scene and some of its most influential and important acts, feel free to start with the following:

1. Pentagram, First Daze Here: You can get Relentless instead if you feel strongly about it, there are no shortage of reissues out there, but if you really want to understand Pentagram‘s influence, you need to go to their earliest recordings, and this Relapse compilation has them. American doom from the age of Sabbath. They laid the foundation.

2. The Obsessed, Lunar Womb: I picked Lunar Womb because MeteorCity reissued it a couple years back and it’s easy to come by. In this age of wonders, you could just as easily pick up The Church Within if you’re looking to spend a little more. The Obsessed is the band that first gave us guitarist/vocalist Scott “Wino” Weinrich, whose influence is paramount in modern doom. Currently on the road with the reunited Saint Vitus, he can also be heard in Spirit Caravan, The Hidden Hand and elsewhere.

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If I could, I’d pay good money to see Victor Griffin playing guitar in Pentagram tonight. Unfortunately, I don’t live anywhere near Raleigh, North Carolina, so it’s a big no dice. One can only imagine the doom to take place on this latest Pentagram tour — one of these days, they’re gonna have to put out a record if they want to keep playing all these shows — but stuck here in Jersey, that’s a long way away. Maybe next time.

If you’re below the Mason/Dixon, you’ll probably want to pay attention to these tour dates from the PR wire:

Legendary doom band Pentagram have just announced the Southern US tour dates with Relapse recording artist Black Tusk. This tour will kick-off in Raleigh, NC and finish at the Maryland Deathfest. A listing of confirmed tour dates and cities can be found below.

May tour will feature the following band members:

Victor Griffin – guitar
Greg Turley – bass
Gary Isom – drums
Bobby Liebling – the madman on the mic

Pentagram Tour Dates:
May 21 Raleigh, NC Volume 11 Tavern
May 22 Savannah, GA The Jinx
May 23 Orlando, FL The Backbooth
May 25 Houston, TX Walter’s On Washington
May 26 Austin, TX Emo’s
May 27 New Orleans, LA The Hanger
May 28 Nashville, TN The End
May 29 Newport, KY Southgate House
May 30 Baltimore, MD Maryland Deathfest VIII

I don’t know what this does to the release schedule for the new Place of Skulls album, but it’s been announced that legendary guitarist Victor Griffin (also of Death Row) has rejoined Pentagram for their tour dates later this month leading to their performance at the Maryland Deathfest at the Sonar in Baltimore. Hey, at least he’ll know the songs, which, from what I understand, will put him miles ahead of the replacement the band had for the departed Russ Strahan on their last string of shows.

By a bit of luck, I caught Griffin with Pentagram when he joined them on stage at last year’s Planet Caravan festival in North Carolina, and it fucking ruled, so I would think with a week-long tour’s worth of tightness behind the performance it could only get better. Support for the shows comes courtesy of the oh-so-hot-right-now Black Tusk. The announcement kind of flew under the radar, but here it is, courtesy of The Pentagram Archives‘ MySpace page:

Pentagram in association with Barley & Hops Management, The Pantheon Agency, and The Pentagram Archives announce:

The May 2010 Spring Tour of Pentagram will feature the following musicians performing:

Bobby Liebling: Vocals
Victor Griffin: Guitars
Greg Turley: Bass
Gary Isom: Drums

This time it’s W. Stuart Rose, who replaced recent commenter Joe Hasselvander behind the kit in Pentagram in 1984, before their first album was released. I don’t know if it’s just a drummer thing, but if anyone else who ever played drums or guitar, bass, whatever, in Pentagram wants to chime in about the interview with Bobby Liebling, I’m more than happy to keep reposting the comments.

Rose kept it quick and to the point:

Cocaine Cessnas with millions of dollars and Ferraris? Are you sure you’re not on crack? [Note: Bobby Liebling does also talk about being on crack in the interview -- ed.] Get the fuck out of here with that shit. And Hasslevander – even I bristled when I saw the “my drummer” comment. WTF??? I can’t stomach bullshit, and this is so full of bullshit it’s beyond belief. And an insult to every one of us who has been a part of Pentagram throughout the years.

It seems only fair to give space to what former Pentagram drummer Joe Hasselvander had to say as regards Bobby Liebling‘s numerous assertions concerning him in the interview posted last week. Goes without saying that I’ve no background information one way or another on the relationship between Hasselvander and Liebling, the work they’ve done together in the past or what might be between them now. I just thought that since Hasselvander took the time to leave an unprompted comment on the interview (and flattered I was that Joe Hasselvander somehow found out about my site without my shouting it at him from across a room), I could take the time to post it and make sure it’s seen by the attendees who care to look. Hopefully that’s at least some of you.

On a side note, Hasselvander‘s new band The Hounds of Hasselvander recently released a 12″ EP, Further Torments of the SG, and he’ll be touring with his classic outfit Raven this year and doing a run of dates including Roadburn with Death Row. More info on his many happenings is at his MySpace.

Here’s his comment:

Excuse me before I barf! When Bobby Liebling tells you he doesn’t lie, then he’s only told you yet another one! He acts like he produced Sub-Basement and Review Your Choices when in fact he slept through 90 percent of the productions of those albums, leaving all the production to me. As far as his claim to riding in drug planes form South America, running coke for a Colombian cartel and owning houses, jewels and furs, that is absolute lying madness. He’s lived in his parents’ apartment all his life pontificating his greatness and has never earned a dime legally or illegally until joining Death Row and still he didn’t make much. He hasn’t written one song since 1974. He also is wildly incorrect in stating that half of my work on the Blue Cheer album was crap and was the reason for putting Paul Whaley’s tracks on to fix the mess. I ought to know, I was there! The real truth is that I stepped down for Paul so that he could tour again as the drummer for Blue Cheer as this is all that the man had in life! Paul is my friend and my mentor for drumming. It was a privilege to share the album with him. The record company decided that since he was back in the band, it would be best to include him on at least part of the album since Blue Cheer would be supporting this album with Paul as the drummer. The tracks Bobby has mentioned as being crumby are classic, well played and well written songs that were to be released at a future date. He has just said this to minimize my importance in that project! Just ask the remaining members, Paul or Duck!

Bobby had written some very iconic songs long ago that he keeps rehashing to this day and that’s fine. I don’t want to take away his past accomplishments which are valid, but to the fans I have to say they are getting a pack of lies from him about his so-called production efforts on past albums especially the ones I did alone with him for Black Widow! I virtually performed and produced them by myself! If it wasn’t for me supplying this guy with bands and songs and laborious work he would not be where he is today! Once again in this article, he falsely takes all the credit! Pentagram was put together by many very talented musicians who were forced to leave the band as they couldn’t put up with Bobby’s drugged out ego and all the lies and ridiculous selfish pats on the back to himself. This is why he is now saddled with young inexperienced yes men who have bought into his scam! The tales I heard at Hammer of Doom in Germany from their touring partners Trouble concerning him and his entourage were beyond a nightmare! He’s blown it with promoters over there because of his shenanigans! Why do I mention any of this? First off, I’m not “His” drummer! I have a very charmed career without his help and am still enjoying the fruits of my hard work! Secondly, he has wrongly slandered my efforts with my old band mates, Blue Cheer! If I have done so badly with them, why would I still be getting phone calls from their guitarist Duck MacDonald in reference to doing more projects in the future?

Sorry I had to deliver the truth on what could have been a good interview! But you must get the record straight!

Sincerely,
Joe Hasselvander