Ron Freschi, Hard Rock Never Dies: Ron Freschi on Scar Chamber, Musical Legacy, Streaming, and Ugly on the Inside

A New Chapter in Hard Rock

Ron Freschi joins the program to discuss Scar Chamber, a newer musical outlet that developed from riffs and song ideas he accumulated while remaining active with Babylon A.D. He describes connecting with singer Jeff Winslow, whose lyrical approach incorporated both men’s life experiences as they grew older. Freschi explains that Scar Chamber gives him room to emphasize heavier guitar textures, louder leads, and arrangements built around multiple guitar parts. He also introduces the band’s drummer, bassist, and additional guitarist while describing the importance of reproducing recorded arrangements as faithfully as possible onstage. The band’s debut performance in Tracy, California, ended with what Freschi describes as a standing ovation. He presents the project as an unexpected but welcome new chapter in a musical life that has already given him several opportunities to return to the stage.

Why Hard Rock Endures

The conversation turns to the longevity of hard rock and the way audiences continue to connect with guitar-driven music across generations. Freschi rejects narrow labels such as glam or hair metal and instead describes both his earlier and current work simply as hard rock. He points to younger listeners wearing AC/DC shirts and embracing the same kinds of sounds that influenced him as a teenager. In his view, strong riffs, memorable lyrics, and sing-along anthems are not tied to one decade. He contrasts that durability with musical trends that may burn brightly for a period and then fade. The host connects his observations to an earlier discussion with Derek Davis about the 1980s and the lasting emotional pull of that era’s music.

Family, Influences, and Guitar Foundations

Freschi describes growing up in a musical family on his father’s side and says his father recorded and toured as a solo artist before the Beatles changed the musical landscape in the United States. He recalls beginning on trumpet, learning to read music, and then hearing Van Halen’s “Runnin’ with the Devil” as a pivotal moment that changed the direction of his life. He cites major guitar influences and the importance of growing up in the Bay Area around accomplished players. He also discusses studying jazz and says some of those concepts still influence his rock playing. The host and Freschi compare the disruption his father experienced in the 1960s with the upheaval hard-rock bands experienced when grunge transformed the market in the early 1990s. Freschi notes that both shifts ultimately affected family decisions and the direction of his own life.

Streaming, Artist Compensation, and AI

A substantial portion of the interview focuses on Freschi’s concerns about streaming economics and the financial realities facing working musicians. He argues that audiences who value music should purchase songs, CDs, or other releases rather than assume music should be free. He links low streaming payments to rising touring costs and says many bands struggle simply to break even when they perform. Freschi also says he uses AI for technical purposes but does not intend to use it to create his music. He presents the issue as one of respect for the time, expense, rehearsal, recording, and creative labor involved in making a song. The host agrees with his larger point that appreciation for an artist should include tangible support for the artist’s work.

Songs Shaped by Loss, Life, and Reinterpretation

The interview explores several songs from “Ugly on the Inside,” beginning with “Warpath,” which Freschi says is not literally about war but about the body fighting cancer after the death of his son’s mother. He explains that the album also contains material about divorce, loss, and other serious life experiences alongside more traditional rock-and-roll themes. “Torn in Two” is presented as a song that initially sounds like a relationship song but develops into something more emotionally complicated. Freschi also discusses reimagining “The Sky Is Falling,” an earlier composition written with Derek Davis, while retaining the original lyrics and adding new guitar elements. He describes that song as a semi-apocalyptic story involving life, love, death, and the future. Across these examples, Freschi emphasizes that maturity has expanded the range of subjects he wants to explore through hard rock.

Ugly on the Inside and the Importance of Inner Character

The closing discussion centers on “Ugly on the Inside” and the contrast between outward appearance and inner character. The host connects the song’s message to social-media pressure, bullying, children’s self-image, and the tendency to judge people visually. Freschi expands on that idea by saying people often present different versions of themselves to friends, family, neighbors, coworkers, or strangers. He argues that the person one sees in the mirror—and the quality of one’s inner self—matters more than the external shell. He also discusses empathy, guilt, bullying, and the challenge of navigating relationships with people who behave badly. The interview ends with the song itself, reinforcing the episode’s broader themes of authenticity, resilience, creative longevity, and the value of knowing who you are beneath appearances.

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hard rock music, Scar Chamber, Babylon A.D., Ugly on the Inside album, music streaming royalties, supporting independent musicians, guitar influences, hard rock songwriting, grunge and rock history, social media bullying

Guest, Jeremy Asbrock, From a Childhood KISS Record to the Stage with Gene Simmons and Ace Frehley

A Childhood Spark

Jeremy Asbrock traces his musical path to a childhood encounter with KISS’s Alive II. At four years old, he bought one of the album’s records from a neighborhood child after his brother recommended the disc containing “Shout It Out Loud.” The energy of the crowd, explosions, and band made an immediate impression on him. He says he knew from that moment that he needed to be part of whatever created that feeling. KISS became his central musical focus until other bands and the guitar expanded his world. In hindsight, he finds it extraordinary that the music he first held as a child became part of his professional life.

Learning to Play Rock

Asbrock describes growing up near Nashville when the city was still primarily associated with country rather than rock. MTV and the hard-rock boom of 1983 and 1984 introduced him to bands including Van Halen, Mötley Crüe, Ratt, Dokken, Quiet Riot, Twisted Sister, and Scorpions. His early guitar teachers focused on older songs and music reading, but a younger teacher finally connected with him by teaching the rock material he wanted to play. Asbrock was less interested in theory or virtuosity than in memorable songs, strong choruses, melodic solos, good singers, and fun. His first band, Rock Bottom, brought together the few teenage musicians in his town. While still a high school sophomore, he performed before roughly 800 people at Nashville’s Cannery.

The Studio, the Shazam, and England

Asbrock initially imagined himself working primarily in recording studios, inspired by the Beatles’ creativity and later studio experimentation. His friendship with the Shazam led him from helping with equipment and engineering their second record to joining the live band. When that album attracted attention in England, the group traveled there repeatedly within a year. He recalls broadcasting from Abbey Road, playing the piano associated with “Penny Lane,” appearing on BBC One, and eventually performing at Earl’s Court. Little Steven later gave the band airplay in the United States, although Asbrock says their larger breakthrough never fully arrived. The experience nevertheless reinforced a pattern he sees throughout his life: long-held musical interests later becoming real opportunities.

Onstage with Gene and Ace

Asbrock explains that his work with Gene Simmons preceded and helped lead to his work with Ace Frehley. His cover band, the Big Rock Show, had appeared on five KISS Kruises, giving people in the KISS organization opportunities to see the musicians perform. When Simmons needed a backing band for shows connected to his appearances and The Vault, Ryan Cook assembled a group that included Asbrock and Phil Shouse. Asbrock remembers Simmons as relaxed and interested in having fun rather than as a demanding musical perfectionist. He says Simmons gave the musicians room to establish their own presence onstage. Years of playing with Frehley later created a chemistry in which the band members could almost communicate telepathically, making the best performances especially meaningful.

Original Music and Continued Collaboration

Asbrock discusses forming Rock City Machine Co. with musicians who had already shared cover bands and work with Simmons and Frehley. Encouragement from a label-owning friend and songwriter-producer Marti Frederiksen finally moved them toward recording original material. Asbrock is proud of the album and considers every track strong enough to be a single, singling out “When Trouble Finds You” and its guitar solo. He also describes his long association with John Corabi, including performances of the 1994 Mötley Crüe album and later touring work. He praises a Corabi record made with Frederiksen for reflecting the classic-rock music Corabi genuinely enjoys. At the time of the interview, Asbrock was balancing Corabi dates, European plans, and Ace Frehley tribute performances.

Music, Family, and Perspective

For Asbrock, one of music’s greatest gifts has been the opportunity to see the world. Drawing on his own experience as the child of a military father, he wants his children to leave their bubble and encounter different cultures and ways of living. He also acknowledges the cost of touring, particularly time away from home and missed family experiences. Rather than directing his children into music, he wants them to find their own interests and paths. He hopes they avoid drugs and alcohol, which he describes as roadblocks that have harmed many people around him. The conversation closes with his social-media information, his account of recording “She” for Ace Frehley’s Origins, Vol. 2, and his statement that daily manifestation remains part of his morning routine.

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Bringing The Darkness To The Light with Catherine Nadal

Turning Time: Sean Manning, The Exiles, and the Return of a Lost Hard Rock Project

Catherine Nadal welcomes Sean Manning, guitarist for The Exiles, for a conversation about his early music career, his partnership with Paul Rafferty, the rediscovery and restoration of Turning Time, reinvention beyond the music business, classic rock influences, modern studio technology, artificial intelligence, and the stories behind “Rainmaker” and “Soul Woman.”

Guest Spotlight: Sean Manning

Sean Manning is the sole guest on this episode of Bringing the Darkness to the Light. He is introduced as the guitarist for The Exiles, an international hard rock project inspired by the sound and spirit of 1970s bands such as Led Zeppelin and Bad Company. Manning discusses his long creative partnership with Paul Rafferty and the unexpected revival of songs they originally recorded decades earlier.

From England to The Exiles

Manning explains that he became a professional musician in England as a teenager and moved to the United States near the end of the 1980s to study jazz. His career soon expanded into hard rock, heavy metal, session work, Quiet Riot, Hurricane, and the Los Angeles music scene. Through music-industry connector John Sutherland, he met Paul Rafferty, and the two quickly bonded over shared influences including Led Zeppelin, Free, Jeff Beck, and the Faces.

The Lost Album and the Rebirth of Turning Time

The Exiles’ album Turning Time began as a collection of 1990s demos that received little distribution and no meaningful record-label support. Manning says the rise of grunge changed the industry just as the project was developing. Decades later, interest from a European record company brought him back to the recordings, where he discovered five forgotten songs and gained the opportunity to re-record, rearrange, remaster, and finally produce the album as he had originally imagined it.

Reinvention, Risk, and a Return to Music

As Napster, the iPod, and digital distribution transformed the economics of recorded music, Manning decided to reinvent himself. He moved into financial markets, film financing, real estate, and other business ventures before the Exiles project unexpectedly drew him back into the studio. Catherine connects that reinvention with the same willingness to take risks that brought him from a small English village to the United States as a young musician. Manning says growth often requires entering situations where failure is possible and refusing to remain unchanged.

Rock Memories, Paul Rafferty, and Creative Brotherhood

Manning recalls encounters with Ronnie James Dio, Paul Stanley, Gene Simmons, John Entwistle, Zak Starkey, and other major figures from his early career. He describes many established artists as gracious and generous, and he shares the surreal memory of discussing red wine with John Entwistle at Zak Starkey’s house. Manning also speaks warmly about Paul Rafferty as a singer, songwriter, painter, sculptor, and creative brother. Rafferty’s original lyrics, drawings, and studio notes were later incorporated into the restored album package.

Technology, Musicianship, and AI

Modern technology made the restoration of Turning Time possible because the original master tapes had deteriorated and had to be baked before transfer into Pro Tools. Manning praises the efficiency of digital production but warns that overreliance on technology can make music sound technically impressive yet emotionally uniform. He argues that musicianship still requires the ability to play an instrument and rejects AI-generated music as equivalent to human performance. At the same time, he says he used AI as a visual tool for the “Soul Woman” video while keeping the music itself entirely human-made.

“Rainmaker,” “Soul Woman,” and the Release of Turning Time

“Rainmaker” began with a riff influenced by The Cult’s Sonic Temple era and became the first song shaped by Rafferty’s vocal melody and lyrics. “Soul Woman” was one of the lost tracks Manning had completely forgotten until the master tapes were reopened, and he later rebuilt it with additional guitars, vocals, keyboards, and modern production. Manning says Turning Time contains fifteen songs spanning heavy rock, acoustic passages, mandolin, blues, and Faces-style rock and roll. The episode closes by encouraging listeners to follow The Exiles online and explore the album as new songs are released.

Bringing The Darkness To The Light with Catherine Nadal

Colin Peterik: Pop Craft, Family Legacy, and Songs From the Heart

Catherine Nadal welcomes singer, songwriter, solo artist, and producer Colin Peterik for a music-centered conversation about growing up around Jim Peterik, discovering his own creative voice, moving from progressive rock into pop, writing and producing his own albums, skateboarding, family inspiration, music videos, touring lessons, and songs including “Smile,” “My Secrets,” “California Sober,” “Black Light,” and “Swans.”

Guest Spotlight: Colin Peterik

This episode of Bringing the Darkness to the Light, hosted by Catherine Nadal and aired on August 10, 2026, features guest Colin Peterik, identified in the corrected transcript as a singer, songwriter, solo artist, producer, and son of musician Jim Peterik. The transcript notes that Colin’s last name was standardized from raw transcript variants and that music performances were preserved as music cues rather than full lyric blocks.

From Progressive Rock Roots to Commercial Pop

Catherine opens by praising Colin’s work and asking how he became involved with major artists and bands. Colin clarifies that acts such as the Steve Miller Band, Cherry Glazerr, and the Alan Parsons Project were artists his band opened for, not necessarily artists he directly played with. He explains that he began in the industry as a teenager in a progressive rock band called Lobster Newberg, influenced by bands such as Genesis and King Crimson, and later shifted toward more commercial pop music because he wanted to meet the audience where they are while still enjoying the music he creates.

Jim Peterik, Skateboarding, and Choosing Music

The conversation turns to Colin’s father, Jim Peterik, known for The Ides of March, Survivor, and writing with 38 Special. Colin says music was always around him, but his father never forced him into lessons, which helped him find music on his own terms. He recalls first being drawn heavily to skateboarding and later realizing that music was a better long-term path for his body and health. By age eighteen or nineteen, Colin knew he wanted to be an artist, songwriter, bandleader, and solo performer rather than a side musician.

“Michiana,” Pocket Symphonies, and Musical Craft

Catherine asks about the video in which Colin is skateboarding, and Colin explains the long development of the song “Michiana.” He says the song took ten to twelve years from conception to release and was inspired by family drives from Chicago to a lake house in Saugatuck, Michigan. The video was shot in Michigan City, Indiana, using the contrast of lake scenery, industrial cooling towers, and a skate park. Colin describes the song as one of his “pocket symphonies,” combining strings, vocals, melodies, and unusual modulations inside a concise pop structure.

Instruments, Production, and the Support of Family

Colin explains that keyboards were his first instrument, followed by guitar and drums, and that knowing the basics of multiple instruments helps him work as a producer. He often creates his own demos, lays down foundations, records his own keyboards and vocals, and then brings in other musicians when needed. Catherine asks about following in Jim Peterik’s footsteps, and Colin describes his father as extremely supportive, responsible, proud, and a good role model. He says they regularly share new music with each other and remain among each other’s biggest supporters.

Songs, Videos, and the New Solo Career

The interview explores several of Colin’s songs and videos, including “Cocaine Nights,” “Smile,” “My Secrets,” “California Sober,” and “Black Light.” Colin explains that “Cocaine Nights” began as “Boat Nights” before he found the title and mood that made the song work, while “Smile” became an important motivational song about mental health and helped relaunch his solo career during the COVID period. He says “My Secrets” began as part of another project, was later reworked for his solo career, and became a major breakthrough with millions of views across platforms. “California Sober” is described as both humorous and emotional, touching on coping mechanisms, 9/11, and everyday life, while “Black Light” marked his first full move into dance-pop.

Touring Lessons, Pop Flexibility, and Writing From Life

Colin shares what he learned from opening for larger acts: be kind to everyone, respect road crews, treat major artists like peers, and do the homework required to perform professionally. He says top-level artists do not rely on lyrics or chord sheets on stage, and that singing from the heart requires preparation, memorization, and belief in the material. He also discusses pop as a flexible category that can absorb rock, metal, country, hip hop, psychedelic music, prog, jazz, and unusual chords. For Colin, writing pop does not mean abandoning artistic integrity; it means finding a broad, confident framework where he can still insert his musical fingerprints.

Children, New Songs, BraveWords, and “Swans”

Catherine asks about Colin’s children, and Colin explains that many song ideas come from things they say. His son inspired “Sparkles in the Air” and another song built from the phrase “My brother is in jail tonight,” while his daughter inspired “The Stars Are Waiting,” a song planned for the new album That’s Cool or I’m Sorry. Colin also plugs his social media under Colin Peterik Music and discusses “Swans,” his cover of a Prefab Sprout song written by Paddy McAloon. He explains that he wanted to expand the sparse original into a version with drums, trumpets, lo-fi jazz and hip hop elements, and that the video includes AI visuals of swans and foxes. The episode closes with Catherine encouraging listeners to explore Colin’s work before the program rolls out with “Swans.”

Bringing The Darkness To The Light with Catherine Nadal

Season of Surrender: Metalcore, Meaning, and the Courage to Keep Going

Catherine Nadal welcomes Jake Luhrs of August Burns Red for a conversation about the band’s origins, the emotional power of metalcore, vocal technique, perseverance, songwriting, Grammy recognition, and the deeper themes behind Season of Surrender.

Guest Spotlight: Jake Luhrs

Jake Luhrs is the vocalist for the popular American metalcore band August Burns Red, joining the group in 2006 after driving from South Carolina to Pennsylvania for the opportunity and eventually earning his place through persistence, touring, and the endorsement of Tommy Rogers of Between the Buried and Me. In this conversation, Jake comes across as thoughtful, humble, and deeply intentional about his craft, speaking not only about screaming, songwriting, and the making of Season of Surrender, but also about resilience, self-worth, surrendering old patterns, and using music as a powerful way to help people move through pain.

Catherine Nadal Welcomes Jake Luhrs of August Burns Red

In this episode of Bringing the Darkness to the Light, Catherine Nadal welcomes Jake Luhrs, vocalist for the American metalcore band August Burns Red. Catherine opens by noting the band’s popularity and Lancaster, Pennsylvania roots, while Jake explains that the group began in 2003, was first signed to CI Records, and that he joined in 2006. The corrected transcript identifies Catherine Nadal as the host, Jake Luhrs as vocalist for August Burns Red, and notes that song-performance sections were summarized with stage notes rather than reproduced as full lyrics.

Joining the Band and Building a Shared Creative Process

Jake describes how August Burns Red formed out of the early-2000s American metalcore scene, with several members knowing each other from high school and drawing inspiration from heavier, emotionally intense bands. He recalls auditioning after the original vocalist left, driving from South Carolina to Pennsylvania in his 1989 Honda Civic, touring for months, and gradually earning his place in the band. He also explains the group’s songwriting process, identifying JB and Dustin as major songwriters while emphasizing that the latest album, Season of Surrender, invited more collaboration from the full band, especially around song structure, lyrics, and vocal ideas.

Perseverance, Purpose, and the Willingness to Return

Catherine highlights Jake’s persistence in returning to the band even when his future there was uncertain. Jake responds that the process taught him how badly he wanted the opportunity and that obstacles are part of growth, maturity, and becoming prepared for the role one hopes to hold. He frames difficulty as a character-building season, saying that going home and refusing to return would have meant telling himself he was not worth it. His story becomes a broader lesson about purpose, resilience, and weathering the storms that shape a person before success arrives.

Screaming, Emotion, and Protecting the Voice

The conversation then turns to how Jake became a vocalist and why screaming appealed to him more than traditional singing. He traces that spark to seeing the band Strike Anywhere as a teenager and feeling deeply impacted by the singer’s passion, message, and personal kindness. Jake explains that screaming felt intimate, emotional, and rooted in desperation, despair, and lived struggle, but that it also required practice and technique. He discusses hydration, rest, hearing himself through monitors, relaxing the body, and eventually working with vocal coaches such as Melissa Cross and David Benites to protect and strengthen his voice.

Season of Surrender and the Choice to Go Deeper

Jake describes Season of Surrender as a modern take on American metalcore that remains connected to the genre’s early-2000s roots while becoming more technical, progressive, emotional, and story-driven. Rather than chasing trends or completely changing the band’s sound, he says August Burns Red turned inward, asking how they could deepen their identity and use the tools they already had with greater honesty and creativity. He emphasizes that the record required humility, criticism, teamwork, ego-checking, and the willingness to break and rebuild ideas until good parts became great.

Grammy Recognition, Ambition, and Redefining Success

Catherine brings up August Burns Red’s Grammy nominations for “Identity” and “Invisible Enemy,” and Jake confirms them while reflecting on how differently he sees those moments now. At the time, he says he did not fully feel or absorb the accomplishment because he was living a performance-based life, always trying to earn love, admiration, and approval. Looking back, he recognizes the nominations as significant, especially for a metalcore band. Jake then redefines success as the act of pursuing what one truly desires, explaining that making the record with his bandmates was already a success regardless of outside recognition.

Songs From Season of Surrender: “Behemoth,” “Allegiance,” “Forged by Failure,” and “Sonic Salvation”

Catherine and Jake close by discussing several songs from Season of Surrender. Jake describes “Behemoth” as aggressive and relentless, with lyrics about surrendering old habits, limiting beliefs, and the false self. He explains “Allegiance” as a dark, vicious song about narcissism, featuring Mike Hranica of The Devil Wears Prada. “Forged by Failure” is one of Jake’s personal favorites, exploring depression, despair, and the choice to turn pain into character, healing, and strength. Finally, “Sonic Salvation” is described as a live-performing song about music’s power to bring people together, encourage them through hardship, and create shared energy between the band and the crowd. The episode closes with Jake sharing August Burns Red’s social media, website, and upcoming tour plans before Catherine thanks him and plays the final song.

Bringing The Darkness To The Light with Catherine Nadal

From Iron Maiden’s Early Fire to Airforce’s Heavy Metal Rebirth

Catherine Nadal talks with Doug Sampson about the early days of Iron Maiden, the rise of Airforce, lifelong musical influences, heavy metal storytelling, and the enduring power of fans across generations.

Guest Spotlight: Doug Sampson

Doug Sampson is a UK drummer best known for his early work with Iron Maiden and his long-running heavy metal band Airforce. In this conversation, he reflects on joining Iron Maiden in the late 1970s, the explosive rise of the New Wave of British Heavy Metal, his musical upbringing, and the renewed success of Airforce decades later. His stories offer a firsthand look at the clubs, friendships, influences, and fan energy that shaped a powerful era in metal history.

Iron Maiden in the New Wave of British Heavy Metal

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Doug Sampson, a UK drummer known for his work with Iron Maiden and Airforce. Catherine opens by sharing her own love for Iron Maiden and asks Doug what the band was like in 1978. Doug describes a very different scene from today, with punk still dominant and heavy metal beginning to surge. He recalls the band quickly growing from small pub crowds to packed rooms of young fans, helping define what would become the New Wave of British Heavy Metal.

Early Clubs, Lemmy, and the EMI Breakthrough

Doug explains that there were many places to play in those days and that young audiences were hungry for the sound Iron Maiden was creating. He recalls how Lemmy offered Iron Maiden a gig supporting him at the Music Machine, a moment that helped expose the band to more listeners and opened the floodgates. Doug also remembers playing the famous Marquee Club on Wardour Street, a historic venue associated with artists such as Jimi Hendrix, The Who, Led Zeppelin, and Pink Floyd. That performance helped lead to the band’s EMI record deal, though Doug says he had mixed feelings because he knew record deals did not always guarantee success.

Stepping Away and the Birth of Airforce

After leaving Iron Maiden, Doug stepped away from music for a while before reconnecting with musicians and recording again. He describes working with friends including Bruce Davey, Chop Pitman, and Tony Hatton, eventually forming the band that became Airforce around 1985 or 1986. After the band was put on ice in the 1990s, interest returned years later when older Airforce songs appeared on a project featuring ex-Iron Maiden members. Audience response encouraged the band to reunite around 2014, bring in singer Dylan Arnoldoff, rehearse seriously, and return to the stage with unexpected momentum.

A New Fanbase and the Power of the Internet

Catherine and Doug discuss how Airforce’s return has been helped by the internet and social media. Doug notes that in the 1980s, bands had to play clubs across England to build an audience, while now a song can be posted online and discovered by listeners around the world. He says Airforce has gained a newer fanbase, including people who were not even born when many of the original heavy metal bands were active. The conversation shows how classic metal can continue reaching younger generations through digital exposure, live performance, and word of mouth.

“Life Turns to Dust” and Doug’s Musical Roots

The first featured Airforce song, “Life Turns to Dust,” is described by Doug as one of the earlier songs from the band’s modern incarnation. He says it reflects the simple but powerful truth that life passes, people die, and everything eventually returns to dust. Catherine then asks about Doug’s earliest musical influences, and he points to Ringo Starr, The Beatles, Phil Taylor, The Who, and other older musicians who helped shape his love of drums. Doug also shares that music ran through his family: his mother sang, his father played violin, and his brother was active in bands including Sam Apple Pie and Atomic Rooster.

Walthamstow, Steve Harris, and the Roots of Iron Maiden

Doug looks back on growing up in Walthamstow, surrounded by venues and musicians, and explains how he first met Steve Harris through the blues-rock band Smiler. Steve later left Smiler to form Iron Maiden and originally asked Doug to join, though Doug declined at the time because he wanted to work and sort himself out. Several years later, Steve returned and asked again, and Doug joined the band around 1978. He also recalls the Cart and Horses in Leytonstone, known as Iron Maiden’s birthplace and now remembered as part of the band’s history.

Horror, War, and Heavy Metal Storytelling

The later part of the episode focuses on Airforce songs including “Cursed Moon” and “Heroes.” Doug describes “Cursed Moon” as a werewolf-style story about transformation, loss of control, and horror imagery, while Catherine connects the song to the long relationship between heavy metal and horror films. Doug explains that Airforce often draws inspiration from films, history, war themes, and dramatic subjects, including songs such as “Blood and Sand” and “The Fury.” He closes by describing “Heroes” as a song about young people sent into foreign conflicts, often without fully understanding what they are fighting for, and returning home in coffins or body bags. Catherine connects personally to the theme through her own Iraq service before the program plays the song.

Bringing The Darkness To The Light with Catherine Nadal

Songs, Survival, and the Spirit of Rock: Phil Soussan on Legacy, Friendship, and Finding the Hook

Guest, Phil Soussan - English Bassist, Songwriter and Producer

A Rock Legacy Rooted in Memory and Meaning

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Phil Soussan, an English bassist, songwriter, and producer known for his work with Ozzy Osbourne, Billy Idol, Vince Neil, Toto, and many others. Catherine opens by reflecting on the lasting impact of Ozzy Osbourne’s The Ultimate Sin and the song “Shot in the Dark,” describing how music can instantly return listeners to a specific era, feeling, and personal memory. Phil agrees, calling the song a milestone and explaining that truly successful songs become more than music; they become bookmarks in people’s lives.

“Shot in the Dark,” David Lynch, and Download for Good

Phil shares the story of revisiting “Shot in the Dark” more than a decade later after being approached by David Lynch through the TM Foundation. He explains that Lynch invited him to contribute to a charitable project that included many artists and was designed to help troubled teens, people with PTSD, soldiers, students, and others learn Transcendental Meditation. Phil recorded his own version of “Shot in the Dark,” playing everything himself and bringing in Luis Maldonado for a distinctive guitar solo. The segment leads into a recorded performance of the song, preserved in the transcript as a music marker rather than a full lyric block.

Knowing Your Worth and Choosing the Next Chapter

Catherine then shifts into Phil’s career decisions, especially his willingness to walk away when the right agreement was not in place. Phil explains that people in all walks of life must ask themselves what they are really trying to do, rather than simply repeating the same routine or working only for money. He says that while he was grateful for his time with Ozzy, he wanted to contribute, write, and feel good about the terms of the arrangement. When he could not retain the publishing rights he wanted, he chose to move on, later working with Billy Idol and many other artists while carrying some song ideas into future projects.

Songwriting, Hooks, and the Young Listener Within

The interview becomes especially reflective when Catherine asks Phil how songs come to him. Phil describes songwriting as both musical and lyrical, rooted in childhood memories of British radio, David Bowie, glam rock, blues-rock, classical violin, guitar, and lyric magazines. He explains that hooks fascinated him from a young age because a great hook is accessible and memorable enough for anyone to whistle. Phil also recalls reading song lyrics in magazines before streaming, smartphones, or portable music players, showing how deeply he studied the structure and emotional pull of songs long before becoming a professional songwriter.

Solo Albums, Mortality, and the Meaning of “No Protection”

Phil discusses his first solo album, Vibrate, as a collection of songs written over many years and performed with musicians he admired, including Simon Phillips, Gregg Bissonette, Steve Lukather, Shane Fontayne, and Steve Porcaro. He then explains that “No Protection,” from his second solo album, came from a more concentrated period of writing shaped by loss, time, and mortality. The title, he says, is not salacious; it reflects the reality that none of us are protected from time. He connects the song to losing his father and to the death of his close friend Randy Castillo, whom he remembers as a lifelong friend, collaborator, and constant presence in his thoughts.

Collaboration, Audience Connection, and the Gift of Helping

The conversation widens into Phil’s many collaborations with remarkable musicians, including Ozzy, Billy Idol, Jimmy Page, Steve Lukather, Gregg Bissonette, and John Waite. Phil says each artist added something to his “private banquet of inspiration,” teaching him about craft, phrasing, performance, and audience connection. He emphasizes that the artist, the audience, and the song form the true triangle of live performance, and that without the audience there is no complete artist experience. This idea leads into his upcoming song “Fly Again,” which Phil describes as a message of encouragement and proof that helping someone else gives life deeper meaning.

A New Trilogy, BraveWords Records, and “Water’s Edge”

Near the close, Phil previews his upcoming album project, explaining that he began writing during a hiatus from Last in Line and eventually developed fifteen or sixteen songs. He says BraveWords Records signed the project and will release it as three EPs, forming a trilogy with a harder modern edge that fans of his work with Ozzy and Last in Line may recognize. Phil shares where fans can find him online, including Instagram, Bandsintown, and philsoussan.com, while Catherine thanks Michael Brandvold for arranging the interview. The episode ends with Phil introducing “Water’s Edge,” a song about someone going through a difficult time and realizing they can rise above it, before the program closes with a recorded music segment and final announcer credits.

Bringing The Darkness To The Light with Catherine Nadal

From Brooklyn Clubs to a Temple of Blues

Guest, Carmine Appice, Legendary Drummer

A Brooklyn Drummer Finds His Direction

Catherine Nadal welcomes legendary drummer Carmine Appice for a wide-ranging conversation about his career, musical collaborations, current projects, and continuing influence on younger musicians. Appice recalls growing up in Brooklyn, studying drums, reading music, performing constantly as a teenager, and initially wanting only to earn a living as a working musician. He describes playing opposite Jimi Hendrix when Hendrix was still performing as Jimmy James, then reconnecting with him later in England after both musicians had achieved recognition.

Vanilla Fudge and the Song That Changed Everything

Appice explains how he joined the group then known as the Pigeons after being impressed by Tim Bogert, Mark Stein, and Vinnie Martell. The band soon became Vanilla Fudge, and their dramatic interpretation of “You Keep Me Hangin’ On” emerged as the performance that captured audiences’ attention. Appice recalls recording the song in a single mono take and says its seven-and-a-half-minute arrangement transformed his life. He also discusses appearing on The Ed Sullivan Show and describes how his success influenced his younger brother, Vinny Appice, to pursue drumming.

Remembering Rick Derringer and Celebrating America

The conversation turns to Appice’s friendship and professional history with Rick Derringer. He recalls recording with Derringer, working on wrestling-related material, and speaking with him shortly before his death. Appice also discusses a patriotic song identified in the transcript as “United States,” which they recorded together in 2022. He explains his efforts to create and promote a video for the song in connection with America’s 250th anniversary, presenting the project as both a tribute to Derringer and an expression of his own support for the country.

Rod Stewart’s Legacy, Vanilla Fudge, and a Lifetime of Collaborations

Nadal and Appice review his extensive work with artists including Rod Stewart, Jeff Beck, Ted Nugent, Paul Stanley, Brian May, Slash, and many others. Appice describes developing a theatrical production celebrating the music and legacy of Rod Stewart, emphasizing that it is more than a conventional tribute because of his own fourteen-year history performing and recording with Stewart. He also discusses continuing to perform with Vanilla Fudge, noting that three original members remain active and that audiences still respond enthusiastically to “You Keep Me Hangin’ On.”

Building Temple of Blues II Across Multiple Studios

Appice introduces Temple of Blues II, the follow-up to an earlier album that connected the music of Cactus with blues and rock performers influenced by the band. He explains that the first project reached number three on the Billboard blues chart, leading the label to request a second volume. He outlines his remote recording process, beginning with drums, vocalized riffs, and rough arrangements in his home studio before sending tracks to musicians in different locations. He then describes matching particular songs with artists such as Ted Nugent, Billy Sheehan, Eric Gales, Tracy G, Jimmy Haslip, Doug Pinnick, Richard Fortus, Tony Franklin, and others.

The Stories Behind the Songs

Several tracks from the new project are featured during the episode, including “Little Red Rooster,” “Purple Haze,” “300 Pounds of Joy,” and “Back Door Man.” Appice explains how each recording developed through different combinations of singers, guitarists, bassists, and guest musicians. He recounts his surprise at hearing Melanie’s previously recorded vocal performance of “Purple Haze,” which inspired Cactus to build a new instrumental arrangement around it. He also discusses the proposed wrestling-themed video concept for “300 Pounds of Joy” and the collaborative decisions that shaped its final direction.

An Urban Ghost Story and a Career Built on Reinvention

Appice describes the elaborate video for “Back Door Man” as an urban ghost story influenced partly by New York City and the film The Warriors. He explains how the concept evolved from a confusing original treatment into a narrative about a ghost retracing the destructive behavior that led to his death. The video includes musicians, producers, financial supporters, and performers from Appice’s other projects in cameo roles. He closes the interview by reflecting on his drum education work, the success of his instructional book, his pioneering rock drum clinics, and memorable encounters involving Fred Astaire and Gregory Peck. Nadal concludes by honoring his longevity, creativity, and continuing impact on the music world.

Bringing The Darkness To The Light with Catherine Nadal

Patrick Gagliardi on Hard Rock, Truth, and the Long Road Back to the Stage

Guest, Patrick Gagliardi, vocalist for STORM FORCE

From Drummer to Front Man

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Patrick Gagliardi, vocalist for the Canadian rock band Storm Force. Patrick explains that his musical life began not as a singer, but as a drummer at around age twelve. Because his early bands often struggled to find a vocalist, he began drumming and singing, eventually moving fully into the role of lead singer. He traces his path through early bands, cover projects, and different musical styles, while emphasizing that hard rock was always his real passion.

Family Music, Niagara Falls, and the Hard Rock Path

Patrick describes growing up in a musical family near Niagara Falls, Canada, with brothers who played guitar and sang, and a mother who had once been offered a chance to sing backup for a touring band before life circumstances changed her path. He says he was the family member who moved most strongly into hard rock, becoming the “black sheep” musically. His influences included bands such as Judas Priest, Iron Maiden, Black Sabbath, Kiss, Triumph, April Wine, Aldo Nova, and other classic rock and hard rock acts that shaped his understanding of performance, songwriting, and stage presence.

Greg Fraser, Storm Force, and the First Album

Patrick explains how he connected with Greg Fraser, guitarist from Brighton Rock, whom he had known since childhood through his brother. The two had once worked on a song called “Saviour” many years earlier, but schedules prevented the project from moving forward. Around 2018 or 2019, Greg reached out again, Patrick went into the studio, and Storm Force began to take shape. Their first album, Age of Fear, was released in January 2020 and received strong reviews internationally, but the COVID shutdown soon derailed touring and live-performance opportunities.

Songs of Support, Gratitude, and Escape

Catherine and Patrick discuss several songs from Age of Fear. Patrick describes “Breathe” as a song connected to depression and the importance of support, framed through a relationship where one partner helps lift the other through darkness. Catherine connects that message to mental health awareness and the importance of support systems. Patrick then explains “Because of You” as a positive relationship song about achievement, gratitude, and strength through another person, while noting that some listeners interpret it in a religious way. He later describes “Dirty Vegas” as a pure party song about nightlife, celebration, and the kind of fun that may come with a few regrets the next morning.

Surface Tension and the Development Years

The conversation returns to Patrick’s earlier band Surface Tension, which he describes as melodic hard rock with some heavier edges. Active in the early-to-mid 1990s, the band toured Canada, opened for Canadian acts, and gave Patrick crucial experience as a performer. He says those years taught him how to manage a band, handle time on the road, command a stage, and become a front man. He also reflects on the shifting musical climate of the 1990s, when grunge changed the industry and affected many hard rock and melodic rock bands.

Building Big Sound With the Right People

Patrick discusses the collaborative and production side of Storm Force, including the importance of band chemistry and mutual respect among musicians. He praises producer Darius Szczepaniak, explaining that Darius helped make the band sound big, contributed symphonic and keyboard elements, and remained the natural choice for the second album after working on the first. Patrick also mentions guest musicians on the new album, including keyboardist Ray Coburn, keyboardist Mike “Benny” Bedrosi, and cellist Margaret Maria, who contribute additional texture to the band’s sound.

Truth, BraveWords Records, and What Comes Next

The interview closes with Storm Force’s upcoming album Truth, scheduled for release through BraveWords Records. Patrick says the title track is not tied to any specific political leader, but is a fictional story about people rising up when someone takes advantage of a country. He describes it as a song about revolution, while making clear that Storm Force is not primarily a political band. Patrick also discusses plans for social media, videos, possible shows, festivals, and select live dates rather than a large tour. Catherine thanks Patrick, BraveWords Records, and Michael Brandvold, then closes the episode with Storm Force’s song “Truth.”

Bringing The Darkness To The Light with Catherine Nadal

Relentless Dreams: Glaucco Ginard on Brazil, Spain, Billy Sheehan, and the Gods of Rock

Guest, Glaucco Ginard from the band Relentless Gods

From Rio Roots to a Life in Spain

In this episode of Bringing the Darkness to the Light, host Catherine Nadal welcomes Glaucco Ginard, singer-songwriter of the band Relentless Gods. Catherine introduces him as a musician she met through Instagram and begins by exploring his background, including his childhood in Rio de Janeiro, Brazil, his current life in Mallorca, Spain, and his long-standing relationship with music and sports. Glaucco shares that he played soccer in Brazil, trained with clubs including Flamengo, and eventually built a life in Spain after meeting his wife, who has strongly supported his songwriting and music career.

Rhythm, Family, and the Guitar as a Songwriter’s Tool

Glaucco explains that rhythm is central to his musical identity, saying that without rhythm there is no groove, and without groove there is no magic. He describes the influence of Brazilian music, including samba and bossa nova, on his right-hand guitar technique, even when he is playing within a rock framework. Although he began with drums and studied music theory, he also learned classical guitar and came to understand harmony through guitar and piano. He credits family musical influences, including relatives who played bolero and bossa nova, as part of the sound and feeling that shaped him from childhood.

Stage Work, Broadway Material, and Cover-Band Experience

Catherine asks Glaucco about his involvement with theatrical and Broadway-style material, including Grease and Les Misérables. Glaucco recalls audition experiences in Rio and São Paulo, vocal testing, and discovering that his voice covered a wide range. He also discusses his work in cover and tribute projects, including Whitesnake to Be Continued, connected to the hard rock scene around Rio and the Hard Rock Cafe era. This leads into a discussion of major rock singers such as David Coverdale, Bruce Dickinson, and Axl Rose, whose vocal power and range Glaucco admires.

The Billy Sheehan Connection

A major focus of the interview is Glaucco’s connection with legendary bassist Billy Sheehan. Glaucco explains that a friend encouraged him to contact Billy through Instagram, and to his surprise, Billy responded warmly. What began as a request for Billy to play on one song expanded into multiple tracks, with Billy ultimately contributing bass lines to several songs on Glaucco’s album. Glaucco speaks with deep admiration for Billy’s technique, tone, humility, and musical generosity, describing him as a master and one of the greatest rock bass players ever.

Relentless Gods and “My Dream Is On”

Catherine and Glaucco then discuss Relentless Gods, the project title connected to his newer work and collaboration with major musicians. He recounts attending Mr. Big’s Big Finish Tour in Rio, meeting members of the band, and feeling overwhelmed when Eric Martin recognized him and said Billy had spoken highly of him. Catherine plays “My Dream Is On,” a song tied to Glaucco’s dream of performing, connecting with heroes, and seeing music open doors he once only imagined. The song becomes a reflection of persistence, gratitude, and the feeling of being “here again” with the dream still alive.

“Sweet Little Teacher” and Songs With Personal History

The interview also highlights “Sweet Little Teacher,” a song Glaucco connects to his school years, a teacher named Silvana, and a moment of youthful boldness when he stood up in front of students to say something meaningful to her. He explains that the song was older but later remodeled and included on the current album. Catherine plays the track, allowing the audience to hear how Glaucco blends memory, affection, and rock songwriting into a personal musical story. Before moving to the final song, Catherine also gives Glaucco space to share his social media information and hint at upcoming announcements involving Brazil, recording, and future work with musicians connected to the project.

“Ariane and I,” Love, Mythology, and the Soul Beyond One Life

The final featured song is “Ariane and I,” which Glaucco says is about his wife and is also tied to mythology. He discusses Ariadne, Theseus, the labyrinth, the Minotaur, constellations, Sagittarius, and the discovery of mythic connections that felt meaningful to him personally. The conversation also moves into consciousness, soul projection, past lives, and the idea that talent or memory may carry across lifetimes. Catherine responds warmly to this spiritual dimension, and the interview closes with “Ariane and I,” a love song that blends personal devotion, mythological imagery, and Glaucco’s belief that music can reconnect people with something deeper than one lifetime.