Three years running and just getting better – Heavy MTL does it again

When I saw the line-up for this year’s Heavy MTL, I was floored by the fact that organizers somehow managed to top last year’s with bands of an overall much higher caliber. The sound was dead-on and the only minor technical glitch I noticed was with Billy Talent’s set; after their banner fell down and they didn’t bother to fix it (the show must go on!), the sound guy didn’t turn on the mic until about 15 seconds into their first song.

The organization was on the ball for preventing anyone from getting seriously injured, beer tent lines were reasonable and the stage set up was efficient. In fact, the only thing I could say the weekend was missing was a little more shaded area but that is just Parc Jean-Drapeau for you.


Photo Essay: Heavy MTL throws down the gauntlet with its third installment and jumps on the path to festival domination

At the risk of taking away from any of the potential suspense that usually surrounds a review, with a line-up that included Motörhead, Anthrax, Billy Talent and KISS, it’s hard to imagine how Heavy MTL could have possibly gone wrong. And they didn’t.

From the moment the official schedule was released, it was obvious that Evenko was pulling out all the stops they could to make the third edition of Heavy MTL the best one to date. If the organizers’ hope was to continue on the path to establishing Heavy MTL as one of the most respected and unique rock/metal festivals in North America, they certainly contributed positively to their goal this year. Although, I must say, debuting a Heavy T.O. on the very same weekend, with many of the same bands on the bill, seemed strange. Why would you want to take a chunk of the annual crowd that would drive in from Ontario away from Heavy MTL?

Artists and Bands

Plastic, Queen and Musical Suits: An interview with Visqueen’s Rachel Flottard

Rachel Flottard, lead singer of Seattle-based rock band Visqueen, recently sat down to talk to R&RR about the band’s latest album, Message to Garcia, fighting bioterrorism, Bugs Bunny as inspiration and much more…

Q: As you probably know, Visqueen is a plastic material that was thought to be useful against a bioterrorist threat, so was there a particular message that you wanted to send by using that as a name? How did you come up with it?


A: Well, it had “Queen” in it. We are all Freddie Mercury addicts. Technically, the fabulous Kim Warnick, our bassist at the time, actually picked the name. It was a word she’d always liked as a kid and it resonated with the rest of us. Only by default did we turn out to be fighters of bioterrorism. It actually made me feel bad for Anthrax. Especially Scott Ian’s beard.


Pearl talks debut album, calling Meat Loaf “Dad,” sharing the stage with Motley Crue, and so much more

Pearl Aday, the daughter of rock legend Meat Loaf, has been embedded in the music scene all of her life. She’s napped in guitar cases as a baby and grew up singing back-up for her father from 1994 to 2003, and also sang with the boys in Motley Crue. Now married to Anthrax guitarist Scott Ian, she has struck out with her debut record, “Little Immaculate White Fox”.  Pearl recently entertained a few of our questions…

Q: It might seem obvious, as the daughter of a rock icon, that you were destined to write and perform music, but was there a defining moment in your life when you realized that you were indeed a “rock child”?

A: This is just the way I’ve grown up. Rock and roll and music is what I’ve known for my whole life. If I was forced to reflect and choose a specific defining moment, I guess I’d have to choose the time I was on my dad’s stage at Wembley Arena. When I was about five/six years old it was my job to be “scarf girl” – to bring a different colored scarf out to my dad in between songs. Red for “Bat Out Of Hell,” black for “Took The Words…,” white for “Two Outta Three…,” whatever it was. I had done it several times before in front of the same sized audiences, but for some reason this time I met him in the middle of the stage, dressed in my favorite little gold lame jumpsuit that I thought was so cool, and I turned and looked out into the audience and froze. I don’t know what it was that particular time. Before, I had obviously been focused only on dad and the players in the band, but this time I noticed the thousands of people, the lights, etc. It scared me and I started to cry. Thousands of people let out a collective, “Awwwwwww…”.  Dad scooped me up and said into the mic, “Don’t worry sweetie. These people are our friends.” The crowd went wild and I remember feeling thrilled, scared, but loving it. I smiled and hid my face in his neck. Maybe that was the moment the stage bug was planted.

Reviews and Suggestions

CD Review: Pearl “Little Immaculate White Fox”

Pearl Aday is a self-proclaimed “Rock Child” and has every right to that title. The daughter of larger-than-life rocker Meat Loaf, Pearl has never known a day without music. In addition to singing back-up for Meat Loaf from 1994 to 2003, she has done the same for Motley Crue. I guess to ensure her progeny are homozygous for musical genes, she has married Scott Ian (Anthrax).

Just a few bars into her debut record, “Little Immaculate White Fox”, it is easy to hear her primary musical influence – Janis Joplin. Incidentally, her biological father played drums in Joplin’s Full Tilt Boogie Band. Pearl’s name comes from Joplin’s nickname, which is also the title of her landmark 1971 album. Follow all that?