Well, I don’t know about the extra 9 tracks. I don’t know where you might have heard that from. Probably the old reliable Internet (chuckling). Yeah, you might be right. In fact, I’m a little bit out of the loop with that right now. I do know that we have some extra material left over from the Resurrection sessions, and those 2 tracks [“God Bringer” and “Fetish”] were the most complete efforts that we got, so it made sense to include them. I mean, there might be fragments of stuff left over ... in an office in Phoenix or a warehouse in L.A., one of two places [He will “investigate”]. Anyway, they were from the sessions, Charlie. They were not recently written songs [as some fans had wondered].
Did you get to perform “The One You Love To Hate (featuring Bruce Dickinson)” live on the Resurrection tour and if you did, did you try to sing Dickinson’s parts or did you just do your own thing?
We did actually do it one time in a club in London. Myself, Jeff [Albright] and Bruce got on stage. … I forget the name of the venue now. The Astoria? Yeah, you’re right. It was the Astoria. I know we’ve got footage of that some place. But that was the only time, Charlie, the only time we played together live.
I was listening to “Silent Screams,” one off my favorites [from Resurrection] and was wondering: What periods of your life it reference, [knowing] it’s autobiographical?
I think it’s just a generalization of where I was at that particular time. I think I was just making a broad-based statement about my life in general. It wasn’t specifically aimed at anything. … I knew what I wanted to do before I even wrote the lyrics. Musically, I knew in my head what I wanted to try and achieve [he wrote it in 20 minutes with co-writer Bob Marlette in his backyard]. Some of the greatest things come quickly and easily.
The live Rio version of “Silent Screams” is a pitch lower [than on record], in Drop C. Was this done on purpose, to give a more darker feel?
Yeah, I know there’s a certain feel and sound that makes the music darker and a little bit more intense when you drop it like that. And so you do what feels right. I love Concert Pitch. That’s a nice natural way of doing things because that’s what I was born and raised on. But in recent years, dropping a tone or dropping half a tone just became part of the way things were being done, especially in metal. That’s the world Metal Mike and Pat Lachman were already in, so we basically stuck with the feelings and the vibes of that dropped tone.
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