Wolfgang Van Halen grew up seeing his father Eddie and his uncle Alex playing in Van Halen and had the chance to learn a lot from them. It's not a coincidence that he is an accomplished musician and besides writing and singing the songs from the albums he released as Mammoth, he also played all the instruments. In an interview with Drumeo, the musician talked mainly about drums and explained why his uncle Al is underrated and is one of the greatest drummers of all time. Wolfgang explains why Alex Van Halen is one of the best drummers in history "I think if he wasn't in a band with Eddie Van Halen, I think he would be lauded as one of the best, greatest drummers of all time, as rightfully, people do already - the people that really fucking get it. Especially seeing the show live, it's like you have Dave fucking jumping around and doing pirouettes and shit, and then you got all the crazy shit dad's doing." And really, how do you pay attention to Alex Van Halen's drumming, when there's a whole show happening in front of him? Wolf pointed this out and noted that if you really listen, there's a treasure trove of sound beneath: "There's so much happening, you can't really even lock in on the fact that Alex is just demolishing everything in the most amazing way. I think he's the closest drummer out there that ever got close to bottom in terms of that feel." "When you hear Al play, you know it's him. I don't think anybody on the planet has a more locked-in double-kick shuffle than Al did. Like on 'I'm the One,' obviously 'Hot for Teacher.' It's just unreal how perfect it is," Wolfgang Van Halen said (Transcribed by Ultimate Guitar). Wolfgang formed his band Mammoth back in 2015 and the name is a reference to an early band formed by his father Eddie and uncle Alex before Van Halen. Since then he released two studio albums: “Mammoth WVH” (2021) and “Mammoth II” (2023). All the songs from both albums were written by him and he also recorded all the instruments. https://www.youtube.com/watch?v=VREI1t4BN4o&t=1sThe post Wolfgang explains why Alex Van Halen is one of the best drummers in history appeared first on Rock and Roll Garage.

Phil Collins is one of the most versatile artists of his generation. He began his career as a drummer and eventually evolved into a frontman and even a producer. His hugely successful career showcased his talents not only as a member of Genesis but also as a solo artist. Over the years, Collins had the opportunity to witness many incredible artists from his era perform. Throughout the decades, he has spoken about several of them, including Eric Clapton. What is Phil Collins' opinion on Eric Clapton Collins loves Clapton as a musician, and they have also been really good friends since the late 1970s. He has always been a fan and had the chance to produce his records and play the drums in his songs. "At heart, I'm still a fan of people. If someone like Clapton or Philip Bailey asks me to produce him, I'm completely flattered. It's like I couldn't say no. I learn a lot, too. There's another aspect, particularly for the lesser-known performers. I really liked John Martyn, an English blues musician, who was going to make a record." "I sort of felt I understood his music. So I wanted in there basically because I didn't want anyone else in there, fucking it up. With Clapton, well, Eric has been one of my best friends for some time, and one day he just called me up. I was blown away by it. "My God, Eric Clapton wants me to produce him." Even though we're best mates, he's still Eric Clapton. I used to play Cream songs in my school band." "Anyway, the fashion of music keeps changing, and people like Eric sort of get left behind a hit in people's minds, if nothing else. I saw producing his records as an opportunity to make people realize that this guy is still a fantastic guitar player and he's got a great voice," Phil Collins said in an interview with David Sheff. They first met each other when they worked together on the album "Glorious Fool", by the British singer and guitarist John Martyn. Four years later they teamed up to make Clapton's "Behind the Sun" album, which Collins co-produced and played the drums on some tracks. The Eric Clapton album Phil Collins called lame https://www.youtube.com/watch?v=F1TEEdzHa40&list=RDF1TEEdzHa40&start_radio=1&pp=ygUPc2xvdyBkb3duIGxpbmRhoAcB Collins doesn't like "Money and Cigarettes" (1983), the album Clapton did before the one they worked together. Talking with Consequence in 2016, the Genesis frontman described that record as "lame". “I was grateful to get closer to Clapton. I mean, we were great friends in England even before I produced two albums for him. (So) I kind of felt like I brought him into this era. Because sometimes some of his earlier albums. I’m not talking about Dominos or Cream or even his early solo years. But ‘Money and Cigarettes’ was a little lame. I think he was on automatic pilot. I kicked him out of that and made him start writing.” “I’m not a full-blooded record producer. If someone asks me to do things, there has to be a reason for them to ask me or for me to do it. I don’t work with anybody that I didn’t want to work with or didn’t know. I mean, Adam Ant came to meet me and pitch me the idea before I thought it was a good idea (For Ant’s album). There’s always a reason why I go into the studio. I want to be sure that I could add something,” Phil Collins said. The album he mentioned didn’t have many hits, but it included the famous track "Slow Down Linda", which became one of his best-known songs. After "Behind the Sun", Collins continued to work with Clapton, co-producing the 1986 record "August". He also played the drums on the hit "Bad Love", from the 1989 album "Journeyman". According to Phil, they were really good friends, especially in the 1980s and they used to go to football together or play billiards all night long. Collins believes Clapton didn't know who he was when they first met Curiously, Phil Collins believes that Clapton didn't even know he was a musician when they first met. "I met him when he was drinking quite heavily, I think he didn't know I was a musician. I was doing John Martyn's album, probably in 1978 and we just met, just got on. Then I invited him to a show Genesis was doing for Hammersmith." "He came and I couldn't believe, suddenly I seen this bloke in the front row. We've always had great fun together. (In the early 80s) he rang me up and said 'I want to talk to you about producing my album,' which is 'Behind the Sun' (1985). It was just amazing for me, I'm such a fan all these years. (...) It was a tremendous opportunity, an experience to work with him," Phil Collins said in a TV interview in the 80s. Like Collins, Clapton is also one of the best-selling artists of all time. He also sold an estimated amount of more than 100 million records worldwide during his solo career.The post Phil Collins’ opinion on Eric Clapton appeared first on Rock and Roll Garage.

UTL COMMENT:- I am not going to peacefully coexist with these sub-human piles of shit. Never! Why? Because they quite simply CANNOT co-exist with us!!! Police come -"I diddun do nuffin"!! Note and it just happens to be outside a McDonalds...... hmmmm...

UTL COMMENT:- So true, they dream that Schwab's prophecy of "You vill own nussing by 2030 und be happy", will come true. We have to somehow get thru to people that they do not realize that they have all the power, & not Government. That is what our original constitution is all about, it's existing protections....

I’m old enough to remember the past five year when the “no kings” party: ?Closed busnisses ?Closed schools ?Closed churches ?Forced us to cover our faces in public ? Left the elderly to die alone ?Forced experimental jabs All without passing laws. Never again. — Meg Brock (@MegEBrock) June 15, 2025

from Man in America: TRUTH LIVES on at https://sgtreport.tv/

BREAKING: SCOTUS HANDS TRUMP TOTAL POWER — EXECUTIVE PURGE BEGINS NOW! The Supreme Court just obliterated the Deep State’s final line of defense — granting President Trump FULL authority to fire the heads of “independent” federal agencies. No more delays. No more red tape. No… pic.twitter.com/ZVkqST6ncn — Capt Kyle (@CaptKylePatriot) June 14, 2025

  A big selling point of the Chromatic has been the extent to which ModRetro has promised to bring classic Game Boy titles back in physical form. Though a noble mission, in practice, most of the best Game Boy games are owned by famous gaming corporations that still exist and certainly aren’t going to authorize new print runs on original hardware when they’re doing everything that they can to push consumers onto digital markets. Which is how ModRetro came to be publishing such titles as Project S-11, which isn’t really a well-known classic so much as a game with a fairly unusual production history.     But before I get too deep into those details, how does Project S-11 hold up as a game? Pretty well actually, although fair warning, this is a fairly generic vertical shooter. This is an advantage in some ways. Having been developed in 1999 era Chicago, Project S-11 didn’t feel the need to adhere to popular Japanese trends of such space shooters becoming increasingly comically difficult to play by anyone except a dedicated fan with unreasonable reflexes. That being noted, I beat Project S-11 in only three tries, and I’m not especially good at video games in general, let alone space shooters.     The gameplay is fairly generic, as is the story. The most noteworthy aspect is that one of the many weapons you can collect kind of functions as a flamethrower subject to the whim of gravity- you shoot the bullets up, and they fall down to the bottom of the screen, allowing for some tricky shots to the great bane of vertical shooter players. Those blasted enemies that very impolitely insist on attacking you from the side or from behind so you can’t easily hit them. I certainly can’t swear that no other vertical shooter has had a weapon like this, mind you. I’ve played a fair amount, but certainly not all of them.     The real star of Project S-11 is the soundtrack, and this is where that production history comes back to relevance. Paragon 5, the studio that developed Project S-11, basically consisted of a bunch of Chicago teenagers who were really into the European demoscene. A full explanation of what this means is a bit much, although the short of it is, that the music in Project S-11 is ridiculously sophisticated. At a time when the larger studios had moved on to CDs, Paragon 5 was making a soundtrack with just four channels, or the equivalent to a 286 processor. And the music still holds up.     Now, granted that I just linked you the soundtrack, is there any reason for you actually play the game? Well, yes, actually, because in context, the Project S-11 soundtrack works to establish cadence and rhythm to the vertical shooting action. It also does a lot to sell the otherworldliness of the otherwise generic alien invaders who you’re tasked with fighting. Project S-11 is a video game centered around a highly specific historical moment, where despite the game’s crudeness, retro gaming wasn’t really a fully established concept yet. Sunsoft published Project S-11 simply because it was an excellent example of the vertical shooter genre being pushed to the limits, and that was their brand.     All of which is to say that Project S-11 has an excellent story behind it, one that vibrates beyond the otherwise generic play. It’s a game that’s a collector’s item, not because it’s rare (although it is somewhat rare), but because there’s a cool story behind it. This makes Project S-11 less nostalgia bait, and more a slice of history.     The post A review of Project S-11 for the Chromatic appeared first on Old School Gamer Magazine.