Sunday, February 28, 2010
Nazareth was formed in December 1968 in Dunfermline, Scotland, out of the ashes of semi-professional local group The Shadettes (formed in 1961) by vocalist Dan McCafferty, guitarist Manny Charlton (ex Mark V and The Red Hawks), bassist Pete Agnew, and drummer Darrell Sweet. They took their name from the first line of The Band's classic song "The Weight" ("I pulled into Nazareth / Was feelin' about half past dead..."). Nazareth's cover version of "Java Blues" by The Band's bassist/singer Rick Danko and Emmett Grogan is on their 1981 live album Snaz.
The band moved to London, England in 1970, and released their eponymous debut album in 1971. After getting some attention with their second album Exercises, released in 1972, Nazareth supported Deep Purple on tour, and issued the Roger Glover produced, Razamanaz, in early 1973. This collection spawned two UK Top Ten hits, "Broken Down Angel" and "Bad Bad Boy". This was followed by Loud 'N' Proud in late 1973, which contained another hit single with a hard-rocking cover of Joni Mitchell's song "This Flight Tonight". Then came another album Rampant, in 1974, that was equally successful although its only single, "Shanghai'ed in Shanghai", narrowly missed the British Top 40. A non-album song, again a cover version, this time of Tomorrow's "My White Bicycle", was a UK Top 20 entry in 1975.
Hair of the Dog was released in April 1975. The title track of that album (popularly, though incorrectly, known as "Son Of A Bitch" due to its chorus lyrics) became a staple of 1970s rock radio. The American version of the album included a song originally recorded by The Everly Brothers, and also covered by Roy Orbison, the melodic ballad "Love Hurts", that was released as a hit single in the UK and in the U.S., where it went platinum. The track became the band's only U.S. Top Ten hit. The song spent a record-shattering 60 weeks on the Norwegian chart.
Dan McCafferty – lead vocals
Manny Charlton – lead guitar
Pete Agnew – bass
Darrell Sweet – drums
Loud 'n' Proud (1973)
Hair of the Dog (1975)
Greatest Hits (1975)
Close Enough for Rock 'n' Roll (1976)
Hot Tracks (1976)
Play 'n' the Game (1976)
Expect No Mercy (1977)
No Mean City (1979)
Malice in Wonderland (1980)
The Fool Circle (1981)
Sound Elixir (1983)
The Catch (1984)
The Ballad Album (1985)
Snakes 'n' Ladders (1989)
The Ballad Album Vol.2 (1989)
BBC Radio 1 Live in Concert (1991)
No Jive (1991)
From the Vaults (1993)
Move Me (1994)
Greatest Hits Volume II (1998)
Live at the Beeb (1998)
The Very Best of Nazareth (2001)
Alive and Kicking (2003)
Maximum XS: The Essential Nazareth (2004)
The River Sessions Live 1981 (2004)
Live in Brazil (2007)
The Newz (2008)
Golden Hits Nazareth (date unknown)
A great band can be found anywhere, do yourself a favour and discover this one.
These Marvel Anime TV series are being created as a way of merging the Marvel super heroes of western culture with the bold animation tradition of Japan. The resulting product will be four visually groundbreaking anime series featuring popular super heroes redesigned and repurposed as emerging from the fabric of Japanese culture.
The series are expected to hit the airwaves on the Animax channel in Japan in spring of 2010.
Alan Burnett sat down with Comics Continuum for an interview and spilled more details about the series of DC Comics animated shorts. Burnett’s been a writer and producer at Bruce Timm’s side on many of the DC animated projects starting way back with Batman: The Animated Series.
Summary: This dark story features Batman at odds with the Red Hood, a mysterious new vigilante leaving a trail of dead bodies in his wake throughout Gotham. Winick is also listed as writer for the animated adaptation.
The Batman: Under the Red Hood direct-to-video animated feature is directed by Superman Doomsday co-director Brandon Vietti, and features the voice talents of Bruce Greenwood (Star Trek) as Batman, Jensen Ackles (Supernatural) as Red Hood, Neil Patrick Harris (How I Met Your Mother) as Nightwing, John DiMaggio (Batman: The Brave and The Bold) as the Joker and Jason Isaacs (Harry Potter film franchise) as Ra's Al Ghul. Bruce Timm is the executive producer.
Cast: Rick D. Wasserman as Hulk, Lisa Ann Beley as Caiera, Mark Hildreth as The Red King, Liam O'Brien as Hiroim, Kevin Michael Richardson as Korg, Sam Vincent as Miek, Advah Soudack as Elloe, Michael Kopsa as Laven, Marc Worden as Iron Man
Summary: A WHOLE NEW WORLD OF HURT! He was a monster, impossible to control, too dangerous to ignore. So Earth’s mightiest heroes exiled him into outer space.
But now the Incredible Hulk crash lands on the distant planet Sakaar, ruled by the tyrannical Red King. Sold into slavery, Hulk becomes the planet’s mightiest gladiator—but his new masters get more than they bargained for when he forges a bond of brotherhood with his fellow fighters: crafty insectoid Miek, ruthless rock-man Korg, ex-shadow pirest Hiroim, and the noble-born rebel Elloe.
Unlike Earth, the desperate people of Sakaar believe a monster is just what they need. But will the Hulk be the one to save their world… or destroy it?
Justice League: Crisis on Two Earths
Cast: Alyssa Milano; Chris Noth; James Woods; Mark Harmon; William Baldwin
Creator(s): Alan Burnett; Bobbie Page; Bruce W. Timm; Dwayne McDuffie; Margaret Hou; Sam Register
Director(s): Lauren Montgomery; Sam Liu
Summary: In a parallel Earth ruled by the Crime Syndicate, the Justice League must fight their evil doppelgangers in a battle that would be dead even, except that their malicious counterparts are willing to do the one thing Batman and Superman never would: kill.
Parasite released this EP in 1984 and disappeared. This very rare track is definitely a classic metal highlight.
UFO: Let It Roll
From the 1975 album "Force It".
Thin Lizzy: Cold Sweat
From the 1983 album "Thunder and Lightning".
Aerosmith: Let The Music Do The Talking
From the 1985 album "Done With Mirrors". Originally recorded in 1980 by the Joe Perry Project for the album "Let The Music Do The Talking".
From the album "Razamanaz"
Deep Purple: Burn
From the album "Burn"
Guns N' Roses: Dead Flowers
A Rolling Stones cover from the Sticky Fingers record this was a staple in GN'R's live set on the latter part of the Use Your Illusion tour; Skin and Bones Tour. Great cover, soundboard recording. Should have made it onto The Spaghetti Incident.
We've all heard the lead single Check My Brain; here is a live acoustic version performed in New York City 9/9/09
In the event you haven't heard the album version; check it out here:
Saturday, February 27, 2010
The Runaways biopic, starring Twilight’s Kristen Stewart and Dakota Fanning, melted the snow at its Sundance premiere and hits theaters across the U.S. on March 19th. While fans have gotten a few sneak peeks at the film via its teaser trailers, Rolling Stone now has your exclusive on what songs will feature on the film’s punk rock soundtrack. Since this is a film about the Runaways, the group’s catalog features heavily on the disc, and its track list is split between the original recordings and new versions by Fanning, who plays Cherie Currie, and Stewart, who portrays Joan Jett. Rounding out the album are 1975-era punk anthems by MC5, Nick Gilder, Sex Pistols, David Bowie and more.
That’s the soundtrack artwork below and it’s pretty sweet, with a literal “cherry bomb” against the backdrop of a well-worn vinyl sleeve. The Runaways soundtrack will be available digitally on March 16th, with a physical release planned for March 23rd. You can pre-order both formats over on the soundtrack’s official Website. Until then, check out the entire Runaways track list below, and be sure to peruse our exclusive photos from the film set:
01. Nick Gilder – “Roxy Roller”
02. Suzi Quatro – “The Wild One”
03. MC5 – “It’s A Man’s Man’s Man’s World”
04. David Bowie – “Rebel Rebel”
05. Dakota Fanning – “Cherry Bomb”
06. The Runaway – “Hollywood”
07. Dakota Fanning – “California Paradise”
08. The Runaways – “You Drive Me Wild”
09. Dakota Fanning & Kristen Stewart – “Queens Of Noise”
10. Kristen Stewart & Dakota Fanning – “Dead End Justice”
11. The Stooges – “I Wanna Be Your Dog”
12. The Runaways – “I Wanna Be Where The Boys Are (Live)”
13. Sex Pistols – “Pretty Vacant”
14. Joan Jett – “Don’t Abuse Me”
For more details please see:
Mick Jagger tells Rolling Stone when the record company asked him to dive in his files for possible bonus songs, he initially believed the band had used all they’d written on the 1972 double album (read RS’s original review). “I went back in the archives and dug out a load of things,” he says. “I added some percussion and some vocals. Keith put guitar on one or two.” Jagger wrote fresh lyrics for “Following the River,” but other than some light revisions to the other songs, “I really wanted to leave them pretty much as they were,” Keith Richards says. “I didn’t want to interfere with the Bible, you know. They still had that great basement sound.”
For further details please go here:
Friday, February 26, 2010
Jacob Kurtzberg (August 28, 1917 – February 6, 1994), better known by the pen name Jack Kirby, was an American comic book artist, writer and editor. Growing up poor in New York City, Kurtzberg entered the nascent comics industry in the 1930s. He drew various comic strips under different pseudonyms, ultimately settling on Jack Kirby. In 1941, Kirby and writer Joe Simon created the highly successful superhero character Captain America for Timely Comics. During the 1940s, Kirby would create a number of comics for various publishers, often teamed with Simon.
Kirby was born in August 1917 in New York City. His father was an Austrian Jewish immigrant who earned a living as a garment-factory worker. Growing up on Suffolk Street, Kirby was often involved in street fights with other kids, he later said that "fighting became second nature. I began to like it." Through his youth Kirby desired to escape his neighborhood. He liked to draw and sought out places he could learn more about art. Essentially self-taught, Kirby cited among his influences the comic strip artists Milton Caniff, Hal Foster, and Alex Raymond, as well as such editorial cartoonists as C. H. Sykes, "Ding" Darling, and Rollin Kirby. He was rejected by the Educational Alliance because he "[drew] too fast with charcoal", according to Kirby. He later found an outlet for his skills by drawing cartoons for the newspaper of the Boys Brotherhood Republic, a "miniature city" on East 3rd Street where street kids ran their own government.
Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".
Partnership with Joe Simon (1941–1942)
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January-March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip. During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Simon recalled in 1988, "I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt..."
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), Simon and Kirby created the patriotic superhero Captain America in late 1940. Simon cut a deal with Goodman that gave him and Kirby 15 percent of the profits from the strip as well as salaried positions as the company's editor and art director, respectively. The first issue of Captain America Comics, released in early 1941, sold out in days, and the second issue's print run was set at over a million copies. The title's success established the team as a notable creative force in the industry. After the first issue was published, Simon asked Kirby to join the Timely staff as the company's art director.
Despite the success of the Captain America character, Simon felt that Goodman was not paying the pair the promised percentage of profits, and so sought work for the two of them at National Comics (later named DC Comics). Kirby and Simon negotiated a deal that would pay them a combined $500 a week, as opposed to the $75 and $85 they respectively earned at Timely. Fearing that Goodman would not pay them if he found out they were moving to National, the pair kept the deal a secret while they continued producing work for the company. Eventually the staff at Timely (most of whom were relatives of Goodman) found out, so Kirby and Simon left after they completed their work on Captain America Comics.
Kirby and Simon spent their first weeks at National trying to come up with characters while the company attempted to find out how to use the pair. After a few failed editor-assigned ghosting assignments, National's Jack Liebowitz told them to "just do what you want" since they were being paid anyway. The pair then revamped the Sandman strip in Adventure Comics and created the superhero Manhunter. In July 1942 they began the Boy Commandos strip. The ongoing Boy Commandos series, launched later that same year, sold over a million copies a month, becoming National's third best-selling title.
After Simon (1956–1957)
At the urging of a Crestwood/Prize salesman, Kirby and Simon launched their own comics company, Mainline Publications. Titles included Bullseye: Western Scout, Foxhole, In Love, and Police Trap. After the duo rearranged and republished artwork from an old Crestwood story in In Love, Crestwood refused to pay Simon and Kirby. After reviewing Crestwood's finances, the pair's attorney's stated that the company owed them $130,000 over the past seven years. Crestwood paid them $10,000 in addition to their recent delayed payments. However, the partnership between Kirby and Simon had become strained. Simon left the industry for a career in advertising, while Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and The Double Life of Private Strong, reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick and Dave Wood the non-superpowered adventuring quartet, the Challengers of the Unknown, in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. During 30 months at DC, Kirby drew slightly more than 600 pages, which included 11 six-page Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. Kirby recast the archer as a science-fiction hero, moving him away from his Batman-formula roots, but in the process alienating Green Arrow co-creator Mort Weisinger. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics due largely to a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff successfully sued Kirby. Some DC editors also had criticized him over art details, such as not drawing "the shoelaces on a cavalryman's boots" and showing a Native American "mounting his horse from the wrong side."
Marvel Comics in the Silver Age (1958 – 1970)
Kirby returned to work with Stan Lee on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics (previously Timely Comics) to become Marvel. Inker Frank Giacoia approached Lee for work, but when informed that Atlas artists inked their own pencils, suggested he could "get Kirby back here to pencil some stuff." Kirby was still working on DC's Challengers of the Unknown, but also searching for work from other publishers, with little success. Continuing with DC on such titles as House of Mystery and House of Secrets, Kirby drew occasional stories for Atlas, including the Lone Ranger-like Black Rider and the Fu Manchu stand-in Yellow Claw.
Several months later, after his split with DC, Kirby began freelancing regularly for Atlas. Because of the poor page rates, Kirby would spend 12 to 14 hours daily at his drawing table at home, producing eight to ten pages of artwork a day. His first published work at Atlas was the cover of and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (December 1958). Initially with Christopher Rule as his regular inker, and later Dick Ayers, Kirby drew across all genres, from romance to war comics, crime stories to Westerns, but made his mark primarily with a series of supernatural-fantasy and science fiction stories featuring giant, drive-in movie-style monsters with names like Groot, the Thing from Planet X; Grottu, King of the Insects; and Fin Fang Foom for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish, Tales of Suspense, and World of Fantasy. His bizarre designs of powerful, unearthly creatures proved a hit with readers.
With Marvel editor-in-chief Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (November 1961). The landmark series became a hit that revolutionized the industry with its comparative naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating with Stan Lee many of the Marvel characters and designing their visual motifs. At Lee's request, he often provided new-to-Marvel artists "breakdown" layouts, over which they would pencil in order to become acquainted with the Marvel look. As artist Gil Kane described:
". . . Jack was the single most influential figure in the turnaround in Marvel's fortunes from the time he rejoined the company ... It wasn't merely that Jack conceived most of the characters that are being done, but ... Jack's point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field ... [Marvel took] Jack and use[d] him as a primer. They would get artists ... and they taught them the ABCs, which amounted to learning Jack Kirby. ... Jack was like the Holy Scripture and they simply had to follow him without deviation. That's what was told to me ... It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view."
Highlights other than the Fantastic Four include: Thor, the Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, Uatu the Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known black superhero — and his African nation of Wakanda. Simon and Kirby's Captain America was also incorporated into Marvel's continuity with Kirby approving Lee's idea of partially remaking the character as a man out of his time and regretting the death of his sidekick.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as "Kirby Dots," and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations.
He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
DC Comics and the Fourth World saga (1971–1975)
Kirby spent nearly two years negotiating a deal to move to DC Comics. Kirby returned to DC in late 1970, signing a three-year contract with an option for two additional years. He produced a series of inter-linked titles under the blanket sobriquet "The Fourth World" including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman’s Pal Jimmy Olsen. Kirby picked the latter book because the series was without a stable creative team and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts, appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, Kobra and, together with former partner Joe Simon for one last time, a new incarnation of the Sandman.
Return to Marvel (1976–1978)Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby’s other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey as well as an abortive attempt to do the same for the classic television series, The Prisoner. He also wrote and drew Black Panther and did numerous covers across the line.
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Limbo, Lust, Gluttony, Greed, Anger, Heresy, Violence, Fraud and Treachery! These are the 9 Circles of Hell made famous by Dante Alighieri in his famed masterpiece, Dante’s Inferno, his first story of The Divine Comedy. Dante’s Inferno: An Animated Epic will take you on a harrowing trip through Hell as Dante braves the forces of evil, slaying demons and monsters of extraordinary imagination, all to save his love Beatrice, from the clutches of Hell’s master - Lucifer. The companion piece to the hit Electronic Arts game, Dante’s Inferno: An Animated Epic, is inventively told through eyes of visionary animation directors from around the world, including Shuko Murase (Ergo Proxy) and Yasoumi Umetsu (Kite: Liberator) among others. 6 Directors, 6terrifying visions of Hell, 1 heart-stopping epic adventure!
For more details visit:
"We're proud of the books Marvel publishes and now not only are we giving retailers a great way to promote our top collections, but also giving consumers a chance to sample some of our top comics, maybe for the first time and at an unbeatable price," said David Gabriel, Marvel Senior Vice-President of Sales & Circulation. "MARVEL'S GREATEST COMICS represents one of the best values in comics today and with Free Comic Book Day only months after the initial launch, retailers will want to be well stocked."
Retailers can check upcoming editions of the Marvel Mailer or with Diamond Customer Service to find out how they can qualify for the free copies.
The titles launching in March, at one per week, are:
March 3: INVINCIBLE IRON MAN #1
March 10: CAPTAIN AMERICA #1
March 17: WONDERFUL WIZARD OF OZ #1
March 24: THOR #1
March 31: PUNISHER MAX #1
Stay tuned for more details on MARVEL'S GREATEST COMICS at: www.marvel.com
Back in 1976, Jack Kirby --the X-Men, Fantastic Four and Hulk co-creator -- got the chance to go backstage at a Wings concert. He met Paul and Linda McCartney, then he presented them with a picture he'd drawn of them with the X-Men villain Magneto (below). Even better, there's a photo set of the two legends coming face to face.
McCartney and Wings recorded a song called Magneto and Titanium Man; here is the song and lyrics:
Well I Was Talking Last Night
Magneto And Titanium Man . . .
We Were Talking About You, Babe,
Oo --- They Said ---
You Were Involved In A Robbery
That Was Due To Happen
At A Quarter To Three
In The Main Street.
I Didn't Believe Them
Magneto And Titanium Man . . .
But When The Crimson Dynamo
Finally Assured Me, Well, I Knew
You Were Involved In A Robbery
That Was Due To Happen
At A Quarter To Three
In The Main Street.
So We Went Out
Magneto And Titanium Man . . .
And The Crimson Dynamo
Came Along For The Ride
We Went To Town With The Library
And We Swung All Over That
Long Tall Bank In The Main Street
Well There She Were And To My Despair
She's A Five-Star Criminal
Breaking The Code
Magneto Said "Now The Time Come
To Gather Our Forces And Run!!!"
Oh No . . . . . .
This Can't Be So . . . . . .
And Then It Occurred To Me!
You Couldn't Be Bad
Magneto Was Mad!
And The Crimson Dynamo
Just Couldn't Cut It No More
You Were The Law . . . . . .
It’s with that in mind we thought we’d spill the beans on some recent unconfirmed (that is the key word here, boys and girls) rumors. Again it’s too crazy to be true. Or is it?
OK. So we know David Goyer and Jonah Nolan are writing The Man of Steel and Batman 3. We’re hearing outta Burbank a key reason behind Chris’ "Godfather" role is to help out li’l brother Jonah. "Why’s that?" you ask. Because latest rumblings peg him to sit in the director’s chair for the Superman reboot.
This, of course, would mark his directorial debut after working with his brother on three Batman films, The Prestige and not to mention his (ultimately un-credited) stint on Terminator: Salvation and writing Interstellar for Steven Spielberg. Jonah’s a solid writer, for sure. But making your first feature a no-doubt $200 million+ blockbuster tentpole with the intention of sequels down the line? Of course, this could just be a part of somebody’s wish list – maybe the studio or maybe "Godfather" Nolan.
For the full article click here:
Spinner is proud to present the premiere of Slash's 'By the Sword,' the album's lead single that features Andrew Stockdale. Starting with a sweet bluesy riff and the Wolfmother singer doing a pretty effective Robert Plant wail, the track picks up tempo as it finds Slash delivering a wicked, slow-rising solo that effortlessly segues from a grind into a guitar-hero moment then climaxes with a psychedelic rock barrage and Stockdale's impassioned vocals.
"'By the Sword' is a favorite of mine off the album," Slash tells Spinner. "I really enjoyed meeting and working with Andrew Stockdale. It was a solid collaborative effort and his voice is fantastic." When Stockdale jammed with Slash at the guitarist's November 2009 L.A. benefit for homeless kids, the two debuted the song live and Stockdale admitted before the show to Noisecreep that playing with the icon "was a little intimidating."
But you can't tell it from this song. "There was this invisible weight lifted off every person that came in and performed on it," Slash says. "They didn't have the pressure of having to deliver their next hit record, so I ended up getting amazing performances out of everybody."
Read more and listen here:
Slash: R&'FN'R Track Listing
01. Ghost (Ian Astbury, feat. Izzy Stradlin) (3:34)
The Dallas-based auction house said the rare copy of Detective Comics No. 27 sold for a total of $1,075,500, which includes the buyer's premium, to a buyer who wished to remain anonymous. The consigner wanted to remain anonymous as well.
"It pretty much blew away all of our expectations and now it's the highest price ever raised for a comic book," said Barry Sandoval, director of operations of Heritage's comics division. A copy of the first comic book featuring Superman, a 1938 edition of Action Comics No. 1, sold Monday for $1 million in a sale between a private seller and a private buyer, with the transaction conducted by the New York City auction site ComicConnect.com.
"We can really say that Batman has nosed out Superman, at least for now," Sandoval said. He said the consigner had bought the Batman comic in the late 1960s for $100. With a bright yellow background, the comic features Batman swinging on a rope above city rooftops. "That cover is just one of the most famous of all comic book covers," Sandoval said. J.C. Vaughn, associate publisher of The Overstreet Comic Book Price Guide, said most people had predicted it would be the comics with the first appearance of Superman and Batman that broke the $1 million barrier.
Both comics that sold this week were in great condition — scoring an 8.0 on a scale that goes up to 10, he said. "I think that you can greenly ascribe this to a real comfort with the liquidity of rare, high grade vintage collectibles," Vaughn said. George Pantela, owner of Melbourne, Australia-based GP Analysis, which tracks sales of certified comics from more than 20 auction houses and dealers, said the previous record was about $317,000 paid a year ago for a lesser grade Action Comics No. 1 than the one sold this week.
Vincent Zurzolo, chief operating officer of Comicconnect.com, took the breaking of their record in stride. "It's an exciting week in comic books when you have two comics selling for $1 million," he said.