 voice first time on the show first time first time I got to correct that statement actually Adrian Neil Turbin who works with us on the metal voice he interviewed you at the last Ronnie James Dio. Yeah yeah yeah that was for the metal voice that was Neil Turbin he's the man on the street in Los Angeles so that was a great interview yeah yeah so this is a real treat Adrian I mean I've been a fan since the very first album Vandenberg in fact I like this so much I went on to get two copies. All right great you're gonna stay. Bring us up to news here what's happening is this a Vandenberg album a Moon King's album a White Snake in the making album. Yeah you never know with me you know it could be I'm all over the place basically. So it's released it was released just a few weeks ago or two weeks ago maybe it's called Sin on mascot records so what's the difference between this album and the one you did with Ronnie Romero in 2020 what would be the difference and for the fans and I realized I was really happy with 2020 album and I still am but when we started doing when we had a bunch of live shows under our belt I realized I would I would like to try to get a little closer to how we sound live with them so I turn everything up a little bit a little bit more out of the amplifier a little bit more punch on the on the drums just a little bit more of everything and go a little heavier and it came came out really handy that I ran into much because as you can tell he he sings with a with an incredible amount of intensity so that really helped making this album a much heavier than the 2020 album. Okay, who's the lineup that plays on this album? The line of the rest of the band is the same you know I have to stop working with Ronnie because our schedules didn't match anymore as everybody knows Ronnie Ronnie takes on quite a lot of projects and he lives in Romania so in Romania they were able to start taking on stuff a little sooner than we were in Holland after Covid they were a little bit more free so to speak and and so in England the same thing we we did shows in England the way before we were even allowed to do shows in Holland so that was pretty weird. Yeah and in terms of if I say this sounds like White Snake what do you how do you react to that? I put this on I go is this David Carverdale singing here is this this sounds very heavily Led Zeppelin White Snake influenced or maybe that's just Vandenberg or maybe that's just Vandenberg go ahead. Well and first of all I'm really happy that you don't think it sounds like like a Britney Spears album so that's great and of course you know more people have mentioned that of course and there's two things that influence that of course I was with White Snake for 12 or 13 years and David and I wrote a couple of albums together and even before that when I joined White Snake David said man there's a couple of songs on the on the on the Vandenberg albums that could have been White Snake songs or the other way around and one of the reasons why he wanted to work with me was the way my son writing he mentioned it many times also an interview so it's very logical that's the kind of music that flows out of me naturally and even the band I had before Vandenberg a band called Teaser we never really get outside of Holland and Germany but that that is very close to the earlier White Snake like White Snake in the late 70s and early 80s very blues oriented heavy rock basically so and then of course as you can tell and Mutz the vocalist Mutz is tamer a stoner voice is definitely not far away from David stoner voice so you put one on one together and you and you've got like a an album that logically doesn't sound too far away from White Snake so when you're writing these songs whose voice do you have in your head that to sing along yeah you know it's I've always written with Paul Rogers voice in mind and David Covertil voice and Robert Plans voice those kind of blues based rock singers I've always been my favorite you know and still is still the case and for me like as good as they are singers like Stephen Fierce or Vince Neil you know they're great in in the LA style of rock but but I'm European as you know and my heroes have always been bands like Jimi Hendrix Cream Led Zeppelin Rainbow the purple Humble Pie and on top of that an American band like Mountain that was a big influence on me Leslie West was a big influence my play my playing and they were basically like the American Art Circular Zeppelin or the other way around the who knows you know but that it's all my roots are in in blues rock basically and I give it a little bit of a classical place here and there because you know there was classical music in the house when I grew up all the time because my sister is classical piano player and my dad played classical piano and jazz all the time so when I had my first Marshall stack in my tiny bedroom that's when the sound in the house of Hamburg changed drastically. Let me ask you this so I'm listening to the sound the guy you know Matt sounds so much like David Coverdale and Robert Plant and I guess that's what you're hearing in your head. Yes when I now I forgot my question. Do you ever veer off and have any other voices like or maybe I don't know Rob Halford or you know you ever have any other inspirations to go down that road like more of a power metal. Oh yeah yeah you know there's definitely influences in that in this album you know for instance the song Sin and the song Out of the Shadows they are it could have had singing like Rob Halford on it or one James Dio another favorite of mine and it's definitely a step further than what I the kind of stuff I wrote in the early Vandenberg days. Yeah and but for a song like Baby You've Changed where I wrote the lyrics and the vocal melodies as well and like I used to do in the early Vandenberg days and the 2020 album actually and I can imagine somebody like Steve Perry on that one you know Steve Perry with another favorite singer of mine and then he could definitely make this song his own definitely. Yeah yeah you know I'm listening to like you mentioned Out of the Shadows I'm listening to that I'm like you know why don't you just get David Coverdale to sing it I mean that's how close it is is are you still in touch with David. Oh yeah a lot as a matter of fact just earlier today we had an email exchange we became really really good friends as everybody knows and we're always in touch sometimes is like a month and a half in between when he's touring and sometimes like two times a week you know so we we became instant friends when I when I haven't even made up my mind to join White Snake yet. We have so many similar influences and growing up and our music and especially a sense of humor also because they're having periods where I lived at David House for about three quarters of a year to the extent that we started calling calling me Poltergeist because this was one of my aliases when we were on tour you know whenever you're in a hotel you use an alias for your room in order to not get bombarded with fans knocking on your door so one of my aliases was Poltergeist. So I get like a wake up call in the morning and Mr. Pergeist there's a this is your wake up call. How much so I'm looking at Wikipedia and I see restless heart and there's a there's a statement there and I want you to clarify this you started doing writing sessions with David Coverdale on restless heart and Coverdale it says that Coverdale kind of was presented with songs that sounded like Chicago and poison is there any truth that is there any truth to that I never heard that to be honest you know it's so there's sessions this is what it says Adrian but their sessions broke down after Vandenberg allegedly presented Coverdale with songs more suitable for Chicago or poison during the restless heart era I don't think so because we wrote the songs in David's house so I don't know where it came from but it sounds funny though so you never gave him songs that sounded very pop like and AOR ish you know it could be because I write very melodic stuff you know and that's how I come up with a bellow like burning heart or like baby you've changed you know and they could probably be covered and not by poison because that's definitely no singer Brett Michael is definitely no singer in this vein of songs but Chicago I don't know who knows you know I mean I I always David and I always agree on the fact that a song a song a song should be a song is a good song when it can get dressed up in whether it's country western whether it's a big band whether whatever it makes the song stand up if you if you look at a song like like yesterday by the Beatles or like a Frank Sinatra songs Elvis Bradley song here we go again you know I mean I think there are country western versions of a song like here we go again it's a great song and if you put the horns behind it it could be a Chicago song I don't know you know all right did you ever meet Bernie Marsden unfortunately he passed recently would you yeah what was he said as a guitar player how would you describe him well he's a great classic classic rock guitar player you know he was really good in the early whites night he was a great songwriter because he co-wrote here we go again you co-wrote 2 3 11 like a whole bunch of those old white things on classical I think some of it were so strong that Geffen wanted basic to re-record them on the 87 element and we record it as you know full 3 11 on them so like I said before you know a good song is a good song no matter how you dress it up when you were transitioning from when you're writing with David and then they transitioned to a Steve Vai did you guys work to get what was it on what's the arm it was the top of the tongue slip of the tongue you're doing writing sessions with with David Carverdale and then of course if your accident prevented you for to doing the studio where Steve Vai took over it was there sort of like a writing co-writing together those songs or no no no Dave and I already finished the songs and I played them the guide guitar as it's called the guide written guitars on the on the basic tracks in order to get a picture for David for instance and for the producer involved what the song was going to be like and what the approach would be and then this which problem came up so I had to leave the session and as you can imagine when I then the slip of the tongue album sonically in my mind I pictured it like the sin album we were just talking about it the whole sin album could could have been a lot of those songs could have been on the on the slip of the tongue album you know that's how I write and that's how I record my guitars so if people want to have an idea how slip of tongue would have sounded would be playing on it should listen to the sin album and you have the full picture that's a good way to do it. Yeah, I guess I'm going to clarify something I got modern pop-ups book and in this book it's alluded to the Keith Olson said he kind of refuted the risk problem that you just spoke about is there any truth on that and I've never heard this from anybody else reading this book is a bit in a shock so I want to take advantage and ask you that to clarify once and for all if there was any doubt that there was a risk problem that kept you from recording that album. No, no, the thing is Keith even though he wasn't involved in that stadium yet and we were working with my clink and Keith Olson was involved later he didn't know the other thing is it's contradictory with what he said earlier. I don't think he said it because when I recorded the guitar parts for a year ago again that was done in about half an hour we recorded it. I came up with the arrangement for the clean and sounding guitar. The guitar solo was done in about five minutes. Keith was raving about it, you know and he said man, man, man, it's a pity you couldn't be involved with more stuff on this album because it's a great combination with the work that Joe Sykes did. It would have been a great combination he said. I agree because Sykes and I have a very different style and just like with Steve Vai and me during the tour everybody loved the two different styles blend together. It's exciting for an audience to have two guitar players that don't sound similar otherwise it doesn't really make much sense, you know, to have two guitar players apart from the sound that you double the rhythm guitar parts. Yeah, fine, you know, but yeah, I said it was I don't think he said it, you know, to be honest because he was very complimentary in earlier interviews too. When it was about those sessions so it's very easy for people to write something like that down and he passed away, you know, so yeah. So is there any truth like Vivian Campbell's belief that you didn't want a second guitarist in their band? You wanted to be the sole guitarist and wait. No, no, it is very I heard their stories to interviews. The reason why David wanted to stop working with Vivian was 80% of that was Vivian's wife. He divorced her so I can't say it now at the time when I was still married I couldn't say it but she was a pain in the ass for everybody for the sound guy for the light guy for our tour manager. She kept going up to the sound guy and go my husband is not loud enough in the mix and she went to the light guy my husband doesn't get enough lights on stage and then she was a man. Asked Jimmy as a tour manager at the time, you know, they were so fed up with her and the other 20% was that the ideas for the song that Vivian presented to David, David didn't think they were suitable for White Snake. He said they were more suitable for bands like you too or like something else, you know, and the Vivian got offended by that and that's why I didn't even know Vivian that David told Vivian that he didn't want to keep working with him until our tour manager Jimmy Ayers came to my room and said, well, Vivian is not in a band anymore. I said, oh, well, I enjoy playing with Vivian. I had no objections about anything and then White Snake was always a two-guitar band, you know, as you know. So after that, you know, it was a coming and going from the guitar players. It was Warranty Metini that I really enjoyed playing with Warrant. Of course, it was D. Vi and then it was D. Ferris in the 1997 tour. I didn't care, you know, it's all fine by me. I was always being a when I grew up, I listened a lot to the older brothers, two-guitar bands. I was a Ken Lizzie fan, two-guitar bands. I was asked to join Ken Lizzie at some point and that was a two-guitar band. I didn't say, no, I'm not going to do it. I want to be the only guitar. I don't care, you know, as long as it's good, you know, and I thought Vivian and I were a good combo. When did David cover their first become an owner? I've read that he wanted you in the band even before John Sykes and then in this book, John Collodner says, oh, until I put this dream band together for the videos, David didn't even know Adrian existed, which I found hard to believe. So David didn't even know I existed. Yeah, apparently John Collodner in this book said that the only reason he was aware of you is because of the videos that he put his dream band together for the videos. And I thought he knew you way before that. The question is, did you know you were asked to join White Snake before John Sykes, correct? Oh, yeah. Oh, wait, wait. That was my answer. That's it. You were and then you said, no, right? That's how it went. Well, do you tell us? Yeah, the first time I was in 82 and the first Vanderbilt album was about to get released. And David mentioned in an interview, I always read his interview because it was a fan interview in one of the English music magazines. I think it was Melody Maker and he said, well, and the next I got a new guitar player and an unknown best guy called Adrian Vandenberg. And I read the interview ago. What? I didn't know about it. And a couple of weeks later, David invited me to come to a White Snake show in Holland in Utrecht. And he invited me backstage. I got picked up by his tour manager and said, David would like to meet you and David suggested now to join White Snake. I said, well, man, I'm a big fan. I can't do it because this album is coming out. I signed a conflict with Atlantic. I can't, you know, stop the band. So, and the second time was around the, the, um, flight in an album. David was recording it in, in Munich, Germany. And I got asked again and I was actually the second time was, um, when White Snake was headlining the Donaldson festival in England. And again, David invited me backstage. And he repeated his, um, his, um, invitation. But I was recording the second Vandenberg album in Jimmy Page's studio again. I said, man, bad timing again. Let's take a touch, you know. So the third time was when he was recording the Slytherin album. I got a call by his manager and he said, so, um, I was in a situation right now. I said, man, I'm recording the third Vandenberg album. I can't, you know. It was always when I was recording another Vandenberg album. So you refused David Carvedale three times. That's what you're saying. Yes. He didn't like it. Um, but, um, you know, uh, I didn't like it either because David is one of my all time favorite singers, you know, uh, just like Robert Plant and, and, and Ronnie Dio and Paul Rogers and, and those guys, you know, um, but we both knew the timing, uh, wasn't right each and every time. So in 86 when John Colomber, um, called me up and he said, well, I heard, um, you, you got out of your contract with Atlantic, uh, I would like to invite you to come to, um, to, to LA to talk about a new contract for Weissner, for Vandenberg. And he said, yeah, great, you know. So I got, I, I was flown to LA and I got picked by a limo and I was like, wow, this is a life, you know, so, um, the next day I was in Colomber's office and he said, well, I haven't been quite honest. I actually have two proposals for you. One is to, um, to fire the rest of Vandenberg and to put together a new lineup for Vandenberg in Los Angeles with a couple of top class American or English musicians. I said, well, yeah. Well, it sounds interesting because people had mentioned that same thing to me before the people from Atlantic and our American manager, an enemy, an adamantie who was the manager of a cheap trick. They kept repeating the same thing. They didn't think the lineup was good enough. Um, so, uh, I said, well, what is the other proposal? He said, well, I would really like you to join Weissner. And I said, well, I've heard it before, you know, and be your mind if I think about it for a couple of days, you know, um, I had to put a picture in my mind and then said, well, while you're here, I would like to ask you to come up with a different guitar arrangement for here we go again and to play a Vandenberg style solo on it because, um, the way John Sykes recorded it, he says, uh, Kolota said it wasn't radio friendly enough and it made him think of a country in Western song played by a metal band. So, so that's literally what he said. So I thought I said, great, because I love the song because I knew the song from the first recording and when I was in England recording the first Vandenberg album, um, here we go again was a huge hit in England in the older version in the classic version. And I thought, man, what a great song. I heard in the clubs in England at the time. Um, and of course David singing was my favorite since, since he joined the purple actually. So I thought that was a great idea. So, um, I told John, of course, you know, so that's when I worked with Keith Olson and, uh, I recorded the whole thing within half an hour. There you go. Yeah, it's amazing. And, and Keith said that that's great because, um, apparently John Sykes took almost a year for all the guitar parts on the album. He's a little slow. He's a little slow. Yeah, you know, but it wasn't a very difficult process. You know, David had a problem with his sinuses and all the stuff. It was like a pretty complicated album. Fortunately it paid off because it cost a lot of money as you can imagine. So Keith was really happy. Maddie's is in half an hour, you know, this is great. Um, uh, and they repeated his compliments. So that's why I think it's bullshit. You know, it was in a book. There's, there's, I wish it would have been like a made of story because I would have kept playing and picked up my playing a lot faster than I was able to do, you know. Yeah, yeah. There, there's two bands. You toured with Ozzie and you toured with KISS. And these are two bands that have always different guitars. Did you ever get asked by Gene Simmons or Ozzie Adrian? Join our band. Join our band. I'm, I bet you did, but you're just, you haven't said anything. You did by which one? Um, it was a story that I never told before, but it was, you guys got a premiere. Um, Ozzie actually, um, the first time I met him during the tour when we started, but I must say he was not quite sober. Um, which is unusual for Ozzie of course, which is very unusual for Ozzie of course. But yeah, you know, the tour manager introduced me to him and then he was in the lunch room of one of the hotels and you know, he said, Adrian, do you want to join my band? That's a man, you know, we're supporting you guys and, um, and Jake is a fantastic player and, uh, we mumbled something like, uh, we'll say in touch or whatever you know, but, uh, later on, um, some people, uh, mentioned, uh, that, um, uh, Don Erie and a couple of other guys in the band, um, mentioned to Ozzie that my style of playing at a lot of resemblance with, um, Wendy Rhodes is playing in the, in the sense of classical influences like Euro metal type of stuff combined with American and blues and whatever, you know, so, um, hearing that and hearing Randy's playing because I was not really familiar with value playing because Ozzie was not popular in Europe at all at the time. You know, he was huge in the United States. So when we got the invitation to support him, um, I was kind of surprised. I thought, wow, Ozzie, you know, um, uh, I didn't really know he was that huge in the States. Is that in 83? Are you saying in 83? That was 83. Yeah. Yeah. It was the tour with, um, Jake, uh, on guitar and, uh, Tommy, that's how I, uh, I got to know Tommy. Uh, I didn't, uh, I couldn't expect that I would end up playing with Tommy Tommy couple of years later. And, um, this, the, the, the bass player was a weird guy. The Rudy's Bob Daisley or Rudy Sarazo? No, no, because I got to know Rudy in the same tour when, when quite wide was supporting Vandenberg when we started headlining the tour. Uh, quite wide was supporting. I got a couple of California shows and it became instant friends with Rudy and I still am friends with Rudy. Um, it was, uh, what was his name? He, he was into self mutilation or something. He, you know, he had bloody hands when he played the bass and all of it. Don Costa. Yeah, but Don Costa was ultimate sin though. Uh, well, he was on the tour. Yeah. What, what, what is that again? Was that a piece later on the back? So that was, that was on the ultimate sin tour that Vandenberg opened up. Not on Bark at the Moon. No, no, no, it was, but I don't think it was Bark at the Moon. Um, but, um, Don Costa played bass on that tour. So I don't, maybe, um, maybe he went, uh, you know, white snake style and have a different lineup for, for the tour. I don't know. But yeah. Don Costa was, uh, the whole bit that we played, Don was, uh, doing the bass, basically torturing his bass was more like, on the back of his guitar. All right. I guess we have time. I guess the last question is sharks. Sharks. Where did the sharks come from on the albums? Yeah. It's a good question. Um, when I made the paintings for the second Vandenberg album, um, I painted this. I was, uh, when I was at Arthur and university, uh, for five years, um, when I, when I started, uh, I've always been a huge fan of Salvador Dali and surrealistic paintings and realistic paintings. Um, uh, I got the idea for, for making a painting where those sharks flying over the highway towards somewhere. So when I made the painting for the, when I made the, the painting for this album, I thought it would be great to have a connection with that and made the sharks fly into New York, the city of sin. And the second name of New York, as we know, is the apple. So there's a connection with the snake and the apple, my past with white snake and the original sin, of course, Adam and Eve and the, and the apple and the snake. So that's the whole picture basically. Fantastic. I love the sharks. I just love the sharks. They stick out. Fortunately, our time's up. So it was too good to speak to you and, and big fans like forever. So I'm really glad. Thank you very much. Thank you very much, man. And if there's any more questions, you know, get in touch with these and, and at some point we'll just continue yapping away. Thank you so much, Adrian. Thank you so much. My pleasure, man. My pleasure. Take care, guys.