Classic Metal Show

Nearly 30 years later, Fear Factory’s Obsolete isn’t sounding quite as fictional as it once did.

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On this episode of CHRIS AKIN PRESENTS..., Burton C. Bell takes a deep dive into the story behind Obsolete and the completely different way he’s now bringing that story to an audience.

Burton explains “Obsolete by Word of Mouth,” his intimate performance built around the original material he wrote for the album, including his handwritten and typed manuscripts, the stories behind the songs, and a theatrical reading of the Obsolete narrative.

And here’s where things get weird.

Ideas that sounded like futuristic science fiction when Obsolete was released can now hit a lot closer to home. Burton talks about his fascination with apocalyptic science fiction, how writers often use imagined futures to reflect the world they’re actually living in, and why revisiting his own material today has produced some pretty startling reactions from audiences.

He also goes back to the making of Obsolete and tells the story of how Fear Factory’s version of Gary Numan’s “Cars” came together — including Numan flying to Vancouver to record his vocals, knocking them out in one take, and then hanging out with Burton for an unlikely trip to the movies to see Dark City.

But Burton isn’t simply cashing in on another anniversary by playing the album live.

Instead, he’s created an intentionally small and personal experience limited to roughly 50 people, where the audience becomes part of the performance and the story is delivered without the distance of a massive concert.

So after almost three decades, the question is pretty damn obvious:

Was Obsolete really ahead of its time?

Watch and decide for yourself.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

Chris has apparently reached the point where the work-home-work-home routine is starting to drive him fucking crazy.

So what’s the solution? Get the hell out of the house.

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The guys get into getting back to live music, the shows Chris wants to see, and why HammerFall is finally getting another live appearance after all these years. But the conversation also takes a more personal turn as they talk about losing friends, serious health scares, and the uncomfortable realization that you can get way too comfortable doing absolutely nothing.

And naturally, it doesn’t stay serious for long. TVs, smartphones, sleeping with talk radio, true crime, and plenty of completely unnecessary CMS oversharing all make their way into the conversation.

Maybe getting out of the house really is the cure.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

KISS, Paul Stanley, vinyl, studio monitors, Dolby Atmos and Spotify royalties — yeah, this one goes all over the damn place.

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The discussion starts with the long-delayed KISS Rocks Vegas Blu-ray/DVD release and its Dolby Atmos presentation before taking a hard left into Paul Stanley’s incredibly detailed thoughts about studio equipment, JBL 4311s, Yamaha NS-10s and Electric Lady Studios.

Then comes the vinyl argument: is that famous “warmth” really better, or are you giving up some of the high-end detail in the process?

And finally, the conversation gets much more interesting when Stanley’s criticism of streaming and the money artists actually receive from services like Spotify comes into play.

It’s KISS, audio nerd territory and the music industry’s streaming mess — with the usual CMS attitude attached.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

The Scorpions were supposed to tear up Las Vegas—but now the residency is canceled. So what the hell happened? Meanwhile, David Lee Roth is back in full-on DLR mode, Zakk Wylde has some thoughts about the death of the traditional album, and John Corabi explains why he walked away from The Dead Daisies. But is Corabi telling the whole story, or just polishing the exit?

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Add in the usual unfiltered opinions, questionable logic, and absolutely no shortage of metal insanity, and this episode goes places fast.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

What happens when a low-budget documentary suddenly becomes one of the most talked-about films on the internet?

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Dylan Avery became the face of Loose Change, a documentary that exploded into the public conversation and turned its young filmmaker into one of the most recognizable names associated with the 9/11 conspiracy-documentary phenomenon.

This interview is a flashback to Avery discussing the film, the reaction it generated, and what it was like to find yourself at the center of a conversation that went far beyond filmmaking.

If you remember Loose Change, this is a serious trip down the rabbit hole. If you don’t, it’s a fascinating look at how an independent film became an internet-era cultural lightning rod.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

From working with Doors producer Paul Rothschild in the 1980s to signing with Warner Bros. as part of The Power Trio From Hell and eventually moving forward with Brian Fox and Load, Fox has spent decades in the music business. Now he’s taking a very different approach with Load The Jet Rocket, releasing it exclusively through Chem Trail Records and taking aim at the major digital music platforms he believes take too much from artists.

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Then the conversation takes a serious left turn.

Fox openly discusses his belief that 9/11 was an inside job, laying out the physical and scientific anomalies he believes raise questions about the official explanation. Chris Akin and Neeley dig into those claims, and a caller jumps into the discussion with questions about the phone calls reportedly made from the hijacked aircraft.

Fox also unloads on government institutions, the Federal Reserve, political leadership and what he sees as media control — while insisting that his response is ultimately about peace, positivity and using music to get his message out.

It’s music, politics, conspiracy theories and one seriously unconventional conversation.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

Eddie Trunk sits down with The Classic Metal Show to talk about the music he loves, how That Metal Show actually came together, and why the title of one of rock television’s most recognizable programs was basically the opposite of what he wanted.

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Trunk explains why he originally wanted a title that could cover both hard rock and metal, how VH1’s research pushed the word “metal” into the name, and how the show’s format evolved into a roundtable built around interviews, comedy and plenty of unscripted conversation.

He also talks Black Sabbath, including his longtime love of the Ronnie James Dio era, the massive changes at VH1 Classic, and why his departure from the network had much more to do with a sweeping channel restructure than anything personal.

And then there’s UFO. Trunk makes the case for why their music still holds up decades later — with even major modern rock musicians pointing to the band as a major influence.

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There’s plenty here for anyone who grew up on hard rock, heavy metal and the television that actually treated the music like it mattered.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

Sebastian Bach is singing Twisted Sister songs. David Lee Roth is wearing a cowboy hat, plinking away at an acoustic guitar and telling stories that sound like they were invented after three days without sleep.

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And somehow, this is all happening in the same episode.

The guys take a look at the bizarre Twisted Sister/Sebastian Bach situation and ask the obvious question: what exactly are we watching here? Then things get even more unhinged when Diamond Dave’s latest internet adventures take center stage.

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From questionable guitar playing to completely insane stories involving Ozzy, cowboy mythology and everything in between, this is the kind of rock ‘n’ roll nonsense you simply can’t look away from.

Is it brilliant? Is it terrible? Is it both?

You’ll have to decide.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

Nailbomb should have been a footnote in metal history. Instead, 32 years later, Point Blank is back onstage—and it still sounds pissed off.

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Igor Amadeus Cavalera gets into why this record has survived, what it means to step into Alex Newport’s role, and why a new generation of fans is suddenly discovering music that was supposed to be buried in the ’90s.

But the conversation goes way beyond Nailbomb. Igor talks about growing up a Cavalera, dealing with the “nepotism” label, watching his father continue to destroy stages decades into his career, and the brutal family history surrounding the Sepultura split and the birth of Soulfly.

And just when you think the Nailbomb story is over, Igor hints that there’s more coming.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.

A Dokken show in Las Vegas goes sideways when Mick Brown literally goes down in the middle of “The Hunter.” Then there’s Mark Boals’ ridiculous travel nightmare, a bowling alley pro shop doubling as a dressing room, and a sound system that pushes Don Dokken to the breaking point.

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And just when you think the night couldn’t get more chaotic, Facebook gets involved.

This is the kind of road story where every new detail somehow makes the previous one look normal.

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All comments are merely the opinions of the people speaking them, are for comical performance, and are in no way stated as factual.