Interview conducted August 27 2016
Interview published October 15 2016
with me and Eric
there was probably built up a little tension, and frustration, and anger,
and I wanted to, like, strangle him, like 'Dude! Finish the songs!'
Metal Covenant met up with Chuck
Billy of thrash metal veterans Testament when he
was in Stockholm to talk about the band's October 28th release Brotherhood
Of The Snake. Although he was having a cold, he certainly was in a good
mood and I can assure you that with this guy you don't have to say much
to get him talking about a new album indeed.
Tobbe: So let's start. The new album, of
course. Brotherhood Of The Snake, what does that stand for?
Chuck: Well, it's the story, you know. Brotherhood
Of The Snake is basically a story about a secret society 6000 years
ago. It's one of the first secret societies. It was called The Brotherhood
Of The Snake and they were a society that was out basically on a crusade
to kind of put down all other religions. You know, their false religions
and "Here's our religion.". And basically their religion was
that an alien god came, whatever that was, and created mankind, to basically
create them to serve as slaves on the planet Earth, at mining their
gold and minerals.
And it was kind of a fascinating thing and I
gave that to Eric, as the Brotherhood Of The Snake, and he goes "You
know, that's actually a good title. I'd like that for the record.".
And he wanted us to write
In the past we would write songs that
were more personal. Lyrics that were more personal, like losing a parent
or being ill and stuff. Lyrics that were more real. He wanted us, like
"Let's stop writing so personal about us and life. Let's create
something that we could create a concept, a story, to build about.".
And that was the start of it. It was like "OK. Brotherhood Of The
Snake. Let's see.". We are kind of like a brotherhood. We got Steve
and Gene and Alex and everybody, and we are like a brotherhood.
it made sense at that point, you know, and I was also focused on a TV
show I was watching, where it showed, like, aliens. The connection between
the aliens and all religions. It pointed how, like in all religions
around the world, thousands of years ago, and the writings or scribbling
on the wall, or in caves, there was always this long-armed being with
a big head. And flying objects across the sky. It made me think "Maybe
this is aliens? Maybe there's something to this? That is that connection.
What is it?". So it really opened my mind to possibilities that
"Maybe there's something to this?". And my mind rolled and
that's when the creation of a lot of the songs started, like the topics
were right there.
Tobbe: You've had snakes on a couple of
other albums too, on the front cover, so what's
Chuck: It's funny, because Steve DiGiorgio pointed
that out to us. He's like "Isn't this weird that, you know, I got
in the band on The Gathering , which has a snake on the front,
and then I recorded the First Strike Still Deadly record  and
now Brotherhood Of The Snake? Man, I got the snakes.".
Tobbe: And then on Dark Roots Of Earth too,
so what's your fascination with snakes?
Chuck: I don't know. I mean, it wasn't conscious.
I mean, yeah, you're right, you pointed out Dark Roots too. I don't
know. [Laughs] You know, I didn't even think about it like that, but
yeah, you're right, the Dark Roots had the snakes in the head too. But
I don't know.
Tobbe: Besides what you just told me about
the concept of the Brotherhood Of The Snake and between you and Eric,
did you guys have some kind of other goal before you entered the songwriting
Chuck: We're proud of Dark Roots, but we're like
"What is missing?" and I think the tempos are like mid-pace.
We have Gene Hoglan playing drums and he sounds like we're not pushing
him to his full abilities. So when he'd go into this, we said "OK.
We definitely wanna write a faster, thrashier record.". I still
wanted to be a little more melodic and have some vocal hooks and not
just use so much of the death metal voice. And I wanted to make the
drums have bigger toms and bigger kick-drums. More real and not so,
like, sampled and trigger-sounding. I think we accomplished all the
things we had spoke about and wanted to set out to do. We accomplished
It was just the songwriting process that was
the scary part, because we had worked on this for like a year and a
half and with me and Eric there was probably built up a little tension,
and frustration, and anger, and I wanted to like strangle him, like
"Dude! Finish the songs!", 'cause he had a bunch of riffs
and in the beginning he's like "Here's some music.", you know.
And I'm like "Oh, what's the verse, what's the chorus, where is
the lead section?". And he's like "I don't know. Just write
lyrics.". So I did. So I just wrote over everything and it was
frustrating me 'cause I felt like I was wasting my time, because some
of those lyrics I wrote didn't make it because he's like "No, that's
the lead section.", you know. And I just added more frustration
and anger and the tension was building. Even up to we went on the Slayer
tour in February/March then we figured "OK. We're all gonna be
together, we got all this music and these riffs, maybe we can put it
all together since we're on tour together?". But that didn't happen.
You know, 'cause we just couldn't get it done.
after the tour we thought "OK. If we want a record this year we
have to record it by June 15th, by the time we leave for Europe. If
not, this year is out of the question.". So we knew that we had,
you know, the rest of March, April, May and part of June to get it done.
Like "We have plenty of time. We're not gonna book any more shows.
We just gonna focus on the record.". Well, the songs still never
developed, so it even built more friction with me and Eric. Usually
I'm a little more outspoken with what I wanna sing on, or the riff,
or "I don't like that riff." and Eric right away was defensive,
saying "You're not gonna like my riffs anyhow!", you know.
So it started off like that and I was pushing him "Dude, you gotta
get it done. Just finish the songs! Just finish the songs!, so I know
where we're at and I can take what I need to write still and have it
done.". It didn't happen, and we looked at Gene's schedule and
he had a couple of weeks in May open and we're like "You know what?
We just have to book the studio, now. Let's just go.". First record
we ever did that we didn't rehearse or do a demo for.
We kind of just dove into the studio and built
even more frustration probably, and anxiousness, and just being a little
scared. For me it was like "Maybe we're jumping the gun and we're
getting in too soon just for the fact to have a record this year and
what if it fails and we flop?". That doesn't do us any good. The
press will eat us up, the fans will eat us up and we gotta start all
over again and that'll be a tough hole to climb out of. So when Gene,
Alex and Steve went in the studio they hadn't even heard the songs.
They hadn't heard any vocals, any leads. There was just riffs. And I
know Gene was probably frustrated and a little bit angry tracking, but
he kicked ass on it and made a big, solid foundation to start out on.
And then everybody else just pulled through, you know, and the songs
evolved for me in the studio.
You know, some songs I'd wrote lyrics to like
3 or 4 times, in different melodies, and if this wasn't working I would
track some songs. So we were really creating and writing a lot in the
studio and it all came together because a lot of it was just riffs in
the beginning, but somehow, vocally, they all kind of started working
together once the lyrics started pulling together. So yeah, I mean,
the whole process was just really tough and it should never take that
long to write a record and it has never taken us that long before.
Tobbe: I think a couple of songs, like the
real thrash metal songs, have these tempo changes too, you know. They're
going from like a regular thrash metal song and then in an instant to
really, really fast. So those tempo changes make it very interesting,
Chuck: Well, we didn't get a chance to second-guess
how it'd work and I think maybe if we had rehearsed or had done the
demo, maybe we would have overpolished the record and maybe lost some
of the life and excitement of what we did. I mean, it was a lot going
into it, you know.
Tobbe: Still a couple of songs are like,
let's say regular heavy metal songs too, so it makes the album kind of
diverse in my point of view.
Chuck: Yeah, it does. I mean, there's a little
bit of everything on there, but the majority of it is fast and thrashy.
That's what we wanted to set out and accomplish, you know. And now listening
to the Dark Roots record, which I was really proud of, you know, and
I really liked the songs, and compared to this one, thinking "Wow,
man, that just sounds slow to me.". It makes it sound so much different
now that we've created this.
Tobbe: So would it be hard for you to record
an album like The Ritual again? Both for the band personally and in the
fans' point of view?
Chuck: No, I mean, I think the uniqueness of
Testament is that we don't write 25 songs for a record and pick 10 and
have a bunch sitting on a shelf and then the next record cycle we take
those 10 or 15 and work 'em, 'cause then the record's gonna sound like
something we were doing back then. I think all of our Testament records
have a different vibe and the songs all kind of stand on their own.
But you would know it's Testament if you heard it. I think it keeps
us sounding current a little bit. You know, still modern a little. It
doesn't sound like we're a 30 year old band, living in the past, trying
to rehash that old style that we were brought up with. We're not trying
to live off of that. We're trying to just live for today and write what
makes us happy today.
Tobbe: Reliving the past won't do you any
Chuck: And, you know, we get to still play those,
so we still get to live that. And it's the live performance. In the
fans we see the response for those old tracks. From new fans, young
kids. There's something about those songs, but that was special and
that was then and this is now.
Tobbe: About your vocal performance. I hear
parts in your vocals that could be like 30 years old, or 15 years old,
so what were you looking to come out with on this record singing-style-wise?
Chuck: I wanted to push myself. I know, typically,
if we are writing and working on a song and they gave me a fast thrash
song, typically I would probably just sing fast and it's almost like
following the bouncing ball to the pace of the music, which to me gets
boring when I listen back. Maybe when I'm creating it it's the first
instinct to do, but after a while I'm kind of bored with that. So I
really wanted to focus on "OK. If we're gonna play something fast,
don't do what you would normally do. Reach down, get out of the box
and try something different.".
I was really focused on trying to find my way within the riff and the
pattern of the drum, where the vocals stood on its own, and the riff
stood on its own, and the drums stood on its own. It didn't sound like
we were all stepping on each other and playing over each other. I think
that's what I always kind of tried to do. I think I've learned to kind
of find my own spot within the music.
Tobbe: So in what way do you think your
voice has changed over the years?
Chuck: I think it's gotten better and I think
my voice is stronger, but I think that comes with time. Like anything
you do in life
For example, if you're a jogger, first day you're
probably gonna run a quarter of a mile. Have you done it for 30 years
you probably build up your stamina and pace. Anything. Just like vocally,
you know. I think I've gotten stronger and I'm more focused than when
I was younger. We were young, sex, drugs, rock'n'roll, partying all
night, staying up drinking all night, chasing women all night. I mean,
it was more of the party. It didn't have "Oh, but people bought
tickets and then I gotta perform well.". Even though we were selling
a lot of tickets I lost focus on that part of it.
And, you know, as you grow older, I think we're
more focused on being a little more healthy and focused on performing
and the show. You know, I always hated when I go and see a band, when
I love a record, and it doesn't sound close to what I'm used to hear
on a record. It really bugs me, and I realize I wanna sound as close
as we can to our record. If not better than the record, or have more
energy than the record. So I think we've got a grip on it now and I
think in the long run it's helped us.
Tobbe: So it easy for you in this day and
age to find the right inspiration or the right words lyrically?
Chuck: There's so much to write around the world
and there's so much going on, especially in our lifetime. It's easy,
but I was writing, like I said, more personal stuff and really wanted
to find something to create the story with. I mean, it's easy to find
the topic, you know, but the way to write it is always the tough part.
You know, and I write Steve Souza, from Exodus, and Del James and with
Del we've been working for 20 years. He's wrote some songs for Guns
N' Roses. And we have a good formula for writing.
You know, I have an idea or patterns and they
help me bring it out. It's nice to have somebody to bounce your idea
off of. You know what? That's good, and it gets the creative juices
flowing. You know, and some musicians would be like "I don't wanna
share my publishing with them. I want it all.". I'd rather deliver
strong records and songs and have the fans come to the show, because
now it ain't about record sales anymore. It's about trying to do many
concerts and sell t-shirts. That's how bands are really surviving, you
Tobbe: Depending on what mood you are in,
does that affect your lyrics much or do you try to keep to an already
determined direction lyrics-wise?
Chuck: Yeah, I'm sure that plays a part in it,
you know, mood-wise. Yeah, I mean, that was why I was writing more personal
stuff. You know, losing a parent or coming ill with cancer. That's what
I felt and I wanted to express myself. Or Native Blood, you know. I
had a battle with cancer and used my native American roots and heritage
and seeing medicine men. I didn't really push my native roots in a lot
of the writing in the past, but for that song it was just the right
time to do it and it made sense. I write the topics about what the music
makes me feel.
Tobbe: So what songs on the new album mean
the most to you, lyrics-wise?
Chuck: They all mean a lot, but personally,
Seven Seals is special, because, again, the whole frustration, you know
after the record was tracked with Gene. The engineer told me "Hey!
Did you get the new song?" and I "What new song? I've never
heard of this new song.". So they gave me a song and I had a few
days to study it and I went home one night and wrote the whole song
and came back the next day and recorded the whole song. And it came
out great, and those are the ones that are special. When you know that
you can write and create something and it works and clicks like that,
then it's a special song. So that one stands out for me, because it
wasn't drugged down and overthought and lived with it for a year and
a half. It just came alive.
Tobbe: You have involved two well-known
guys, Juan [Urteaga] and Andy [Sneap], for producing and mixing and that
sort of stuff. So what could those two guys bring to an experienced band
Chuck: Well, Andy knows Testament now, just
over the years. Like when we first started working with Andy, me and
Eric would mix it with him and I'd be on one side and Eric would be
on the other and we'd be driving him crazy, just like "Try this!
Try that! Do this, and that!" and he's like "Stop! You guys
are driving me crazy.", you know. But I think, at the end of the
day, he listens and he's a guitar player, so he knows guitars and musicians.
He got it, 'cause usually we'd work with older producers, that had been
around for a while, and they have a different approach.
Andy had that young, fresh approach when we first started working with
him and then last time, on the Dark Roots, was the first record we said
"He knows. Let him have a shot at it, by himself, without us going
over there bugging him.". And the first mixes were like really
close and we just had to tweak it. You know, he gets it. On the last
record he came in and did all the tracking and then mixed it, where
this one we felt confident that we can accomplish the tracking. We had
Juan and Andy get together and we talked about what we wanted to do
again, tom-wise with the drum sounds, and guitar sounds, and what we
wanted to make better for this production. So everybody was on the same
page. Juan works really quick and he's local and there was a good team,
Tobbe: Who actually has the final say of
you guys when you're recording something in the studio?
Chuck: Um, well, me and Eric. I mean, we basically,
you know, produced it ourselves, 'cause there were parts and we hadn't
put them together and built the songs. It was so scattered like that
and those guys, there is no way they just could have just put it together
and produced it, because
it was so incomplete. So I would think
if you would came in with finished songs, then, as a producer, you might
have suggestions after it's finished, but they weren't to that stage,
so we really had to do it ourselves.
And Eric, I'm sure, more than me musically, probably
had a vision of the music and the final thing. More so than I did, you
know. So, at the end, it came alive because a lot of the songs were
riffs and Eric played a lot more solos on this record and there's a
lot of him doing filler stuff, which really brought the songs to life.
'Cause to me it was like "Man! That's such a long riff. You should
stop and change it there.", but now hearing what he did and Alex's
lead it's like "No, no. It's perfect. It's just right.", you
Tobbe: It's almost been 30 years since your
first record was out and a lot has happened since back then, so besides
that you were a little stressed out on the new record, do you generally
put more pressure on each other today than what you have done in the past?
Chuck: Not really. I mean, I think we put less,
or are less stressed out about it too, especially after me beating cancer,
because when I was ill with cancer, you know, I didn't recognize myself
in the mirror and I thought I was done with music. I was concerned about
living life, surviving, being with my family, 'cause when you get told
you have cancer, right away you think the worst. "OK, I'm dead.
Better get my life in order. How much time do I have? What's gonna happen?".
It's a different feeling, so after I beat cancer and we actually did
the reunion with the original band, it was like a new feeling, like
"Wow, man! I feel so blessed that I get to jam with the real band
Testament.". It was like the team was back together and "We're
gonna finish this thing. What we started together, we're gonna finish
it together.". It was just that feeling that brought a feeling
of confidence within that, you know.
So that's when we stopped worrying about
You know, of course we wanna write good music for the fans, but it wasn't
in the back of our mind, thinking "Oh, are they gonna criticize
this song or are they gonna think something about that?". It didn't
matter anymore. It was just a matter of, for me especially, "Hey!
I'm just lucky that I'm here, getting the opportunity to do this.".
And since I've had that opportunity, my wife has started working for
the band and whenever she travels with the band she takes care of all
of the rest of the guys. So I realized that, you know, I was being fortunate
enough to travel the world, but I didn't get to see the world. I didn't
get to soak it in. I was doing it wrong. I was partying, or being hung-over
and sleeping in my bed, or sitting around to the gig all day. To where,
after the illness, when getting back on the road, I was like "Let's
do it different. Let's just pretend like we're tourists on vacation.
Then I just gotta go sing for an hour and a half somewhere tonight.".
really made it special and different and it was so fun. And then I was
taking some friends of mine, that always knew what I did, but they'd
just heard about it and that it was fun. So I started taking my friends
on tour with me and we would share our experiences in the world and
places, and it made it fun, really fun again, and exciting, and it gave
me the joy, to show my friends the world as well, 'cause you don't always
get an opportunity to travel like that, you know. So it was a whole
different thing, being in a band at that point. And then just still
be able to create good music and get recognition from our fans and our
critics is a bonus on it. It just made it better. And that was the scary
thing, going into this record with the uncertainty "Are we gonna
blow it, going in too soon? We can hurt ourselves.". Fortunately
we didn't and we came through, but it could have went the opposite and
went bad for us too.
Tobbe: You know, Testament has had a boost
in the last decade, but isn't it a little peculiar that you, as a band
of the late 80's, is getting a second chance, 20 years later?
Chuck: Well, I think maybe it's a little bit
of everything. Just our attitude and, like I said, we're writing it
for ourselves and not taking it so serious. We're making a living out
of it, you know, and that's an accomplishment too. We're having fun,
we're writing good records and we can make a living out of this. When
we did the [The] Gathering record, we had such an unstable lineup, with
different lineup changes all the time. We called ourselves, basically,
weekend warriors, because we'd go off on a weekend and play 2 or 3 shows
and come home and work during the week. Because we didn't know who was
coming in the band, or going. And so once we got back together, we all
said "Are we all in this together? A hundred percent?". Everybody
was into it and that's when "OK, Mr. Booking agent. We're here
for you. Book some shows. Let's work guys. We're ready.". And we've
been working hard since then, and touring hard since then. And, again,
since we've been together working, the creation of music's come along
with it as well.
Tobbe: The first 5 records had the exact
same lineup of Testament, but since then you haven't had 2 records in
a row that has the exact same lineup. So do you think that you can start
a solid group with you 5 guys now and continue this?
Chuck: Well, this is. We're solid now. I think
everybody is pretty solid. And we're at that stage in our life, that
nobody wants to change it and I mean, I can't predict the future, but
I think we all get along and we're all mature enough to respect each
other's face and wishes and make it work together. You know, I don't
see it changing. I mean, I don't know why it would, unless, like all
the past guys that have moved on
a better opportunity came or
So I don't think so. I think we're pretty comfortable
and happy. You know, Gene has expressed it, and even other musicians,
and even our crew, they like our organization, they like how we treat
our people that work for us and we have a fun time on the road together.
Right now is a really good time for the band or, like you said, over
the last 10 years. But especially since the Dark Roots record it's been
really good. You know, Greg [Christian, bass] left unfortunately, but
that was his choice, but maybe that happened for a reason and Steve
coming back into the group was a new breath of fresh air and he brings
camaraderie and he and Gene have been playing together before. And Eric,
when he gets on the road he's more of a hermit.
You know, he doesn't do much and stays on the
bus and we don't see him 'til showtime or something. When now Steve's
in the group, he goes out, sees the town, has lunch, goes out with the
band with dinner. He's out more, so I'm like "That's good.".
Steve's getting Eric more out of his shell and I'm like "I wish
you can experience it like I am, going away, and seeing the town and
soaking in what we're doing.", you know.
Tobbe: About Greg. Just one question. He
has a new band now, Trinity Fallen, and they will release a couple of
songs, and will you take the time to listen to it, since he's been with
you for so long?
Chuck: I mean, if it comes across, I will. I
think I've heard some of it. He was working on that while he was in
Testament too. I mean, I'd probably hear it if it comes across.
Tobbe: Your touring itinerary shows dates
in Europe from late October to the last day of November, with Amon Amarth
and Grand Magus, and a couple of headliner shows as well, but what's coming
up after that?
Chuck: Right after that we'll go to Australia,
Japan and Indonesia in January/February and then April/May we'll do
an American headline tour. And in the U.S. there's some festivals that
have been popping up. You know, a good handful of festivals. So we're
gonna try to hit all those, and the European festivals next summer.
And then plan a headline run here in Europe. Hopefully a very extensive
one across Europe, after the summer touring.
And then back to the next album cycle.
Chuck: Then right back in the next album, you
know. And that's what we've talked about. We can't wait 4 years. I don't
wanna take 2 years to write a record. Let's get a jump and let's just
start writing now and I pointed out to Eric, I said "Look at when
we started this band, Eric. How we got momentum going.". We put
a record out every year. I mean, you wouldn't wanna do that now, but
then we didn't know any better. We had so much time on our hands, so
we were just writing and creating music. So we put the first 4 records
out, every year, and I go "Look how much momentum we got off of
that and the buzz we got off of that. We got to kind of go back to that
mentality and keep putting out records and keep the momentum going and
keep the buzz going and especially if we can keep creating music. It's
gonna pay off.".
Tobbe: So how do you look at the future
in, like, 10 years?
Chuck: Oh, 10 years. That's a long way out there.
I mean, I would love to keep doing this and I've always said "As
long as I'm having fun I'll keep doing it.". As long as my voice
holds up I'll keep doing it, but on the other hand, I'm aware of that
I don't know the future. I don't know what will happen and maybe I'll
lose my voice. So I've been expanding my horizons. You know, I've got
vaporizers out and I'm supporting an energy drink and we've started
a management company, Breaking Bands. Me, Johnny Z [Jon Zazula] and
Maria Ferraro. So I'm kind of looking for the future. I mean, right
now I'm doing it all, but if something will ever happen to Testament,
you know, and that was done, hopefully I've created and built something
else to kind of continue on in this industry.
Tobbe: So back to the festivals. Are you
already booked to some festivals next summer, as we speak?
Chuck: We've booked a few and, you know, matter
of fact Sweden Rock, I think, made us an offer. I don't know if we confirmed
it yet, but we haven't done that for a few years, so I know if it comes
across the table we're probably gonna do it.
Tobbe: About your microphone stand. When
did you start playing air guitar on your microphone stand?
Chuck: That was from day one. But I think I'd
seen Anthrax, with Joey, with a stand, and I thought "You know
what? I wanna have my stand too.", 'cause it was comfortable. And
I was a guitar player when I started, so when I was not singing I didn't
know what to do. It was like "What do I do?". I didn't just
wanna stand there and I just banged my head. So the air guitar just
started out like something to keep me busy when I wasn't singing. I
don't know, but maybe it became like a security blanket, you know, over
the time now.
Tobbe: So how good are you as a guitar player?
Chuck: Oh, I'm terrible now. I mean, I started
as a player and as I was introduced to trying to be a singer, that's
when I kind of shifted my focus and learning to sing. I still strummed
the guitar and played, but I didn't keep pursuing the learning part
of it. I went back to school and took some vocal lessons and theories
and guitar classes and then I was taking private lessons for a few years
in San Francisco and out in Berkeley. When I first became a singer,
for my younger brother's band, I'd never sang before, ever. They kind
of threw me some lyrics at the rehearsals and "Here. Sing today."
and I did and they said "All right! You're the new singer.".
And I was like "Oh, shit. OK, but how do I do that? I never sang
before, so I'd better learn.".
I learned real quick, went right back and took some courses in college
and private lessons until my teacher after 2 years said "OK, you
can keep paying me. I'm just gonna keep showing you the same stuff.".
So I felt like, you know: the karate teacher "OK, master. I'm ready
to find the next battle.". So that's when I kind of was like ready
to go out into the world and find a band and fortunate for me, Zet [Steve
Souza], who was friends with my youngest brother, left Legacy [Testament's
original name] to join Exodus and he's like "Here's Alex Skolnick's
number. Why don't you give him a call and see if you can audition for
these guys? They're looking for a singer.". So I listened to the
music, and they were much younger than me, but I was really blown away
how mature the writing was and the songs were. So I said "Yeah.
This is really good!". So I auditioned. First audition ever, got
the gig, and I've been here ever since.
And it was funny, 'cause I kind of walked right
into the record deal, because Zet had a record deal with Megaforce,
and he left, so Megaforce said "Well, send their demo with the
new singer and we'll talk.". So we did, and they liked it and they
came out to see us and we did the audition and we got signed. It was
kind of: school, audition, got the gig, writing the record deal. It
just happened so quick, and then we just kept knocking records out.
I was older than those guys and I came from a different kind of a background
of style, where I was listening to more like Thin Lizzy, UFO, Ratt and
Dokken. Singers have to be more melodic and the thrash thing with Metallica
and that kind of heavy metal was really new to me.
I probably really didn't understand it, so that
first year Eric just kind of coached me along the whole way, like "Here's
how you do it.". And for that next year I think I finally figured
out how to do it and by the end of that year we wrote Do Or Die, before
we went to the studio to do the record [The Legacy] and that was my
first attempt at, you know, putting my 2 cents and creating a song and
I think I got it at that point.
Tobbe: About the first record. Will there
be any celebration to it, to its 30 year anniversary?
Chuck: Yeah, we're talking about it. Unfortunately
the master recordings are lost, so we can't remix it. And I don't think
we'll just remaster it. That's a little cheesy to me, just to release
it with a remaster. But we'll probably still remaster it, but that ain't
gonna be the focus on it. The good thing to do would probably be maybe
do a narration of those songs, what they meant, how they were created,
that time period.
And even possibly just maybe only put it out
on vinyl, and maybe repackage it, and put some cool photos of the band
and some cool stories in there, and make it just a collector piece and
something cool vinyl-wise. I wanted to remix it 'cause those techniques
we used to record it were terrible and it's so little and tiny. When
I hear it, compared on radio, when it's our song and then somebody's
modern song comes next, it's just like "Man, it sounds so small.".
of the album Brotherhood Of The Snake
Chuck Billy - vocals
Eric Peterson - guitars
Alex Skolnick - guitars
Steve DiGiorgio - bass
Gene Hoglan - drums