idk... just not buying the tough guy act. perhaps im just too old to take the tough guy act seriously. )
I don't try to act like a tough guy. I'm just know myself and if I was around him I would beat his ass. I'm to old for bs too but if someone fucks with you I was always taught to fight back.
me and catz would whoop your ass and bang your girl while CF and arlo take turns and we make you watch.
I'm sure you would.
CF is cock diesel bro, nigga look like Thor and shit....
Ya not scared, bigger they are harder they bang your girl
Today, Black Label Society frontman and former Ozzy Osbourne guitarist Zakk Wylde (pictured left) explains Dime’s legacy and what they had in common. The new, 100th issue of Revolver, which is available here and on newsstands on December 13, features a free pullout poster of Dimebag.
REVOLVER Why was Dimebag important to heavy music? ZAKK WYLDE When people ask me, “What was Dime’s guitar playing like?” I say, “With Dime, it wasn’t just what he brought to the table, with the blues-y feel and the beyond-fucking-heavy riffs.” When you really think about it, he actually inspired a genre, like how [Black Sabbath guitarist] Tony Iommi inspired a genre of music. Not just Dime’s ripping solos and all that bullshit, I’m talking about like the actual style of the fucking music.
What is it about Pantera’s music that signaled something new in metal? They were head and shoulders above anybody that did that style of music. The rhythms are super tight, the musicianship was fucking slamming. I’m talking production, the musicianship, you know, ’cause it wasn’t just like fucking Pantera was making loud, fucking stupid shit. It was just the combination of the four guys, like Zeppelin or whatever, where the chemistry is perfect together. As as far as Dime goes, aside from sounding influenced by Randy Rhoads and Eddie Van Halen, which you can hear in his solos, you can’t say his riffs were influenced by Black Sabbath or Metallica. Even though Dime would say, “Man, I love those early Metallica recordings,” I would tell him it doesn’t sound like it. He created his own sound.
Before they invented their own style, Pantera were playing glam metal on their early, out-of-print independent records. How did Dime feel about those albums? When you listen to early Pantera, Dime used to say, “We all gotta start somewhere until you find your identity.” We’d always laugh about the early Pantera records and he goes, “Ah, fuck it, Zakk. I’m not ashamed of those fucking records.” He goes, “What the fuck? I was into that shit at the time.” You look at your high-school picture and you go, “Well, that’s what I was into, man.” [Laughs] I mean, if anything, I look back at that shit and I think it’s fucking awesome, because it’s like fucking hysterical, man. [Laughs] Like me, when I first started with Ozzy, I had big, puffy hair. I know some dudes that are like, “I ain’t fucking signing a picture of me looking like that.” But I go, “Dude, this is fucking gold, man.” [Laughs] It’s just like what Dime was saying about not being ashamed. We’d always laugh about that shit.
Today, Judas Priest frontman Rob Halford talks candidly about meeting Dimebag, working with him, and how he took the news when he heard about the shooting. A portion of the interview ran in Revolver’s “Fallen Heroes” issue (available here) earlier this year.
REVOLVER When did you first meet Dimebag Darrell? ROB HALFORD Priest was in Canada rehearsing for the Painkiller tour. I was doing an interview from the hotel room and I turned the telly on to [Canadian music-video channel] Much Music. The sound was turned off, and I saw this guy and he’s got a British Steel T-shirt on. So I quickly finished the interview, and I turned the volume up and he’s just talking about his band, Pantera, and Cowboys From Hell. And just watching him and listening to him on the television, you just felt like, This is a great guy. Firstly, I saw a clip of the band. I was like, My God, this guitar player is fucking phenomenal, besides the rest of the band. And then just hearing him talk I thought, I really would like to meet this guy. So I called up Much Music and I said, “Was that Darrell? Is he still there?” It wasn’t Dimebag in those days, it was Diamond Darrell. They said, “Yeah, he still is” And he was like, “Oh my God, I can’t believe it, I’m wearing a Priest shirt.” And I said, “Yeah, I’ve just seen you on the Much Music.” He said, “Oh man, I’d love to see you. We got a show tonight at the club in Toronto.” I’m pretty much sure that it was Pantera and Stryper. So I went down there, and we had a great time together, and we just talked about metal, this, that, and the other. I think jammed “Metal Gods” with them. It’s a bit blurry, it should be more significant than this, but this is 1991. I was clean and sober then, but you know how things get jumbled up in your brain. So that was the start of that.
And I told [Judas Priest guitarists] Glenn Tipton and K.K. Downing specifically after that, “I’ve seen this band. They’re absolutely fucking amazing and they are going to be huge. They are going to be huge!” And I said, “We should try to get him on the tour.” So, to cut a long story short, we brought them with us on the Priest Painkiller tour of Europe and nobody had a clue who they were. They had no distribution as far as I understood in Europe. So they went out blind, in front of Germans and French and whatever. I used to watch every show, and the first reaction fans gave them was, Who the hell is this? And it was like, Oh my fucking God, what’s going on in front of my eyes? They would just win an audience over in 30, 40 minutes. From playing fresh, new music that nobody had heard before. The communication was instant with that band. So there it was. So by the time we’d done the European tour, and they went back to the States, Cowboys was shooting up the charts. And that was it, they were off and running. They were just launched into the stratosphere on that first release.
You mentioned his British Steel shirt. He used to wear a razorblade necklace in honor of your album. Did he ever tell you about that? Yeah, and he had it tattooed on his leg as well. He loved that record. It meant everything to him. It was one that he said was very inspiring to him as a guitar player and as a musician in general. That’s great, isn’t it?
Shortly after you toured with them, you worked with him on the song “Light Comes Out of Black,” for the Buffy the Vampire Slayer soundtrack. How did that come together? I was away from Priest. Sony were working on the soundtrack. They wanted Sony artists and asked me to write a song. I hadn’t written as a solo writer for years and years and years. But it’s one of those things where you don’t know what you can do until you put your nose to the grindstone. So I wrote “Light Comes Out of Black,” and I was stuck. And I got Dime’s number, and I called him up and I said, “Here’s the deal.” And he goes, “Let’s do it. Just get in the plane and come down to Dallas.” So that’s what I did the next day, went to the studio, laid the track down in a very short space of time. Phil wandered by, said “Oh, how’s it going, ‘metal god’?” So I told him and he said, “You got a spot for me?” I said, “Pfft, here’s the mic.” So Phil joins me on the back end of the song. And it turned out really god. It’s amazing to think that that’s a Pantera song really. It is Pantera with me on lead vocals, and Phil obviously doing the outro sections. But it’s a Pantera song really.
Did you play guitar on a demo and send it to him originally? Yeah, I put my very primitive…I just don’t have the mental capacity to do what guitar players do.
What was exceptional about working with Dime? His interpretation of the song. His phrasing, the feel was unique. Let’s face it. You look at rock and roll. You’ve got Jimmy Page, Jimi Hendrix, you’ve got Eddie Van Halen. I’m just going through a list off the top of my head, you obviously got Dimebag. Obviously, Glenn [Tipton, Priest guitarist], [Iron Maiden’s] Adrian Smith and Dave Murray, all of these significant lead heavy-metal, hard-rock guitar players. And Dimebag…I’m mentioning them now because they’re very influential. All of those guitar players have been very influential to not only music but specifically to other guitar players around the world. And there’s no doubt that Dimebag’s impression was just monumental. If you took Dimebag out of the equation, metal would sound totally different right now, without a doubt it would, definitely.
What was the last time you talked to Dime? I’m pretty certain it was Aladdin in Las Vegas on the Halford Resurrection tour with Iron Maiden. It might have happened maybe once, twice after that.
Where were you when you heard Dime had died? I was in my house in Phoenix. I think somebody texted me or somebody called me, and my legs went from underneath me. I just hit the deck. This can’t be real. I put the TV on, and it was actually on CNN. I just sat there in disbelief. And then I balled like a baby, like you should do. I just cried my eyes out. And you just don’t know what to do. You’re full of confusion, you’re full of anger, you want to fucking smash things to pieces. You want to play the music; you want to call Phil. All of these things are going on in your head. And obviously, Pat [Lachman] was singing for Damageplan at the time. I wanted to call Pat. Do you call, do you not call? What the fuck’s going on? Just a bazillion things are going around your head at the same time. But it was just terrible. It’s just seems inconceivable. I don’t think, now, that’s never happened to anybody else, has it? I mean, we lost people through self-induced things, like booze and drugs. We’ve lost people like Ronnie [James Dio] with the kinds of illnesses. But to be fucking brutally murdered is just insane. Absolutely insane. John Lennon is the only other person, isn’t it? They’re both in good company, as far as what they mean and how they’ve lived on in our lives. How Dimebag will always live on. That’s the only bit of solace you’ve got. It’s that the work that they made will live forever. That’s the blessing.
Today, former White Zombie bassist Sean Yseult (pictured left) recalls some of Dimebag’s greatest pranks. Having toured extensively with Pantera, she became close friends with the guys and chronicled that friendship in photos last year with her book I’m in the Band. The new, 100th issue of Revolver, which is available here and on newsstands on December 13, features a free pullout poster of Dimebag.
You played some pretty big gigs with Pantera, including some in Japan. What do you remember about those? It was really funny ’cause we flew with them to Japan, and we’re all the way in the back in economy with all the roadies and crew. And Pantera were up in front in the second level of the airplane in these big swivel chairs, dining like kings. Luckily, I was kind of like their mascot, so I was just hanging out with Pantera the whole time in the upper deck. It was just so funny.
Dimebag had a reputation for being a prankster. Did he ever get you good with a prank? He did this one he loved so much that he did it twice. I used to wear these engineer boots all the time. And he got like a hundred dollars worth of pennies, and he sent a roadie to run out in the middle of our show and fill pour the pennies into my engineer boots so that they wedged all around my feet and ankles, and they felt like they weighed a hundred pounds. It was just so heavy I could hardly move. And I’d come off stage, and he’d say, “Junior,” he called me Junior, “did you feel weighed down?” He was just fucking with me.
He did so many things. He used to do this horrible character where he put on this old man mask and a cape. He had this huge plastic dildo thing. And he would whip open the cape, and somehow he filled it with dish liquid or something. And somehow that large projecting thing would just start squirting all over everywhere. [Laughs] And he would do that right in the middle of our show.
He did so many pranks constantly. He did the one million and one Super Balls, I think it was St. Louis. Another time, at the end of the tour, they got a snow machine. And they made it snow on us for like an entire song. And all this fake snow was in our gear and fucking up everything. It would just never stop. It was onstage, offstage. He put a big inflatable shark on top of our bus. Everything had some significance and meaning to him, but I don’t remember what that could’ve meant.
Did you ever get him back? Oh yeah, there’s a photo in my book. He was always talking about his stomach being “clubbed up “when he felt fat. So I had this back brace, because I’d broken a rib on tour, and I made it Darrell’s “club holder,” and I labeled it and slapped it on him. Another time, I think this was actually in a Pantera video, on our first tour with them, Dimebag always used to wear this Nine Inch Nails shirt. So I got this roadie to go on his bus and get his clothes out for me, and then a hat, and then his guitar. I had a little troll doll that had hot pink hair, it looked just like Darrell’s beard, and I taped it on my chin and kind of just mimicked him for a song or two. That was pretty funny, But yeah, whatever we could do, we were just trying to entertain each other all the time. The other thing was he always said “three” when somebody stuck a finger in their ear. Me and my friend in Tokyo made these huge fingers with the number three on them and we were jabbing him in the ears onstage.
It sounds like you were very close. Did you keep in touch after the tours? Yeah, he was really like a brother to me. We were so close. I hadn’t talked to him in a little while when I moved to New Orleans. We lost a little touch. He was still out there touring. I was unfortunately at the funeral, and it was just very surreal. It’s still impossible to believe that he’s not with us.
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From Those Fishes - I Fingered An Old Bitch (i got Aids on my finger)
REVOLVER Why was Dimebag important to heavy music?
ZAKK WYLDE When people ask me, “What was Dime’s guitar playing like?” I say, “With Dime, it wasn’t just what he brought to the table, with the blues-y feel and the beyond-fucking-heavy riffs.” When you really think about it, he actually inspired a genre, like how [Black Sabbath guitarist] Tony Iommi inspired a genre of music. Not just Dime’s ripping solos and all that bullshit, I’m talking about like the actual style of the fucking music.
What is it about Pantera’s music that signaled something new in metal?
They were head and shoulders above anybody that did that style of music. The rhythms are super tight, the musicianship was fucking slamming. I’m talking production, the musicianship, you know, ’cause it wasn’t just like fucking Pantera was making loud, fucking stupid shit. It was just the combination of the four guys, like Zeppelin or whatever, where the chemistry is perfect together. As as far as Dime goes, aside from sounding influenced by Randy Rhoads and Eddie Van Halen, which you can hear in his solos, you can’t say his riffs were influenced by Black Sabbath or Metallica. Even though Dime would say, “Man, I love those early Metallica recordings,” I would tell him it doesn’t sound like it. He created his own sound.
Before they invented their own style, Pantera were playing glam metal on their early, out-of-print independent records. How did Dime feel about those albums?
When you listen to early Pantera, Dime used to say, “We all gotta start somewhere until you find your identity.” We’d always laugh about the early Pantera records and he goes, “Ah, fuck it, Zakk. I’m not ashamed of those fucking records.” He goes, “What the fuck? I was into that shit at the time.” You look at your high-school picture and you go, “Well, that’s what I was into, man.” [Laughs] I mean, if anything, I look back at that shit and I think it’s fucking awesome, because it’s like fucking hysterical, man. [Laughs] Like me, when I first started with Ozzy, I had big, puffy hair. I know some dudes that are like, “I ain’t fucking signing a picture of me looking like that.” But I go, “Dude, this is fucking gold, man.” [Laughs] It’s just like what Dime was saying about not being ashamed. We’d always laugh about that shit.
REVOLVER When did you first meet Dimebag Darrell?
ROB HALFORD Priest was in Canada rehearsing for the Painkiller tour. I was doing an interview from the hotel room and I turned the telly on to [Canadian music-video channel] Much Music. The sound was turned off, and I saw this guy and he’s got a British Steel T-shirt on. So I quickly finished the interview, and I turned the volume up and he’s just talking about his band, Pantera, and Cowboys From Hell. And just watching him and listening to him on the television, you just felt like, This is a great guy. Firstly, I saw a clip of the band. I was like, My God, this guitar player is fucking phenomenal, besides the rest of the band. And then just hearing him talk I thought, I really would like to meet this guy. So I called up Much Music and I said, “Was that Darrell? Is he still there?” It wasn’t Dimebag in those days, it was Diamond Darrell. They said, “Yeah, he still is” And he was like, “Oh my God, I can’t believe it, I’m wearing a Priest shirt.” And I said, “Yeah, I’ve just seen you on the Much Music.” He said, “Oh man, I’d love to see you. We got a show tonight at the club in Toronto.” I’m pretty much sure that it was Pantera and Stryper. So I went down there, and we had a great time together, and we just talked about metal, this, that, and the other. I think jammed “Metal Gods” with them. It’s a bit blurry, it should be more significant than this, but this is 1991. I was clean and sober then, but you know how things get jumbled up in your brain. So that was the start of that.
And I told [Judas Priest guitarists] Glenn Tipton and K.K. Downing specifically after that, “I’ve seen this band. They’re absolutely fucking amazing and they are going to be huge. They are going to be huge!” And I said, “We should try to get him on the tour.” So, to cut a long story short, we brought them with us on the Priest Painkiller tour of Europe and nobody had a clue who they were. They had no distribution as far as I understood in Europe. So they went out blind, in front of Germans and French and whatever. I used to watch every show, and the first reaction fans gave them was, Who the hell is this? And it was like, Oh my fucking God, what’s going on in front of my eyes? They would just win an audience over in 30, 40 minutes. From playing fresh, new music that nobody had heard before. The communication was instant with that band. So there it was. So by the time we’d done the European tour, and they went back to the States, Cowboys was shooting up the charts. And that was it, they were off and running. They were just launched into the stratosphere on that first release.
You mentioned his British Steel shirt. He used to wear a razorblade necklace in honor of your album. Did he ever tell you about that?
Yeah, and he had it tattooed on his leg as well. He loved that record. It meant everything to him. It was one that he said was very inspiring to him as a guitar player and as a musician in general. That’s great, isn’t it?
Shortly after you toured with them, you worked with him on the song “Light Comes Out of Black,” for the Buffy the Vampire Slayer soundtrack. How did that come together?
I was away from Priest. Sony were working on the soundtrack. They wanted Sony artists and asked me to write a song. I hadn’t written as a solo writer for years and years and years. But it’s one of those things where you don’t know what you can do until you put your nose to the grindstone. So I wrote “Light Comes Out of Black,” and I was stuck. And I got Dime’s number, and I called him up and I said, “Here’s the deal.” And he goes, “Let’s do it. Just get in the plane and come down to Dallas.” So that’s what I did the next day, went to the studio, laid the track down in a very short space of time. Phil wandered by, said “Oh, how’s it going, ‘metal god’?” So I told him and he said, “You got a spot for me?” I said, “Pfft, here’s the mic.” So Phil joins me on the back end of the song. And it turned out really god. It’s amazing to think that that’s a Pantera song really. It is Pantera with me on lead vocals, and Phil obviously doing the outro sections. But it’s a Pantera song really.
Did you play guitar on a demo and send it to him originally?
Yeah, I put my very primitive…I just don’t have the mental capacity to do what guitar players do.
What was exceptional about working with Dime?
His interpretation of the song. His phrasing, the feel was unique. Let’s face it. You look at rock and roll. You’ve got Jimmy Page, Jimi Hendrix, you’ve got Eddie Van Halen. I’m just going through a list off the top of my head, you obviously got Dimebag. Obviously, Glenn [Tipton, Priest guitarist], [Iron Maiden’s] Adrian Smith and Dave Murray, all of these significant lead heavy-metal, hard-rock guitar players. And Dimebag…I’m mentioning them now because they’re very influential. All of those guitar players have been very influential to not only music but specifically to other guitar players around the world. And there’s no doubt that Dimebag’s impression was just monumental. If you took Dimebag out of the equation, metal would sound totally different right now, without a doubt it would, definitely.
What was the last time you talked to Dime?
I’m pretty certain it was Aladdin in Las Vegas on the Halford Resurrection tour with Iron Maiden. It might have happened maybe once, twice after that.
Where were you when you heard Dime had died?
I was in my house in Phoenix. I think somebody texted me or somebody called me, and my legs went from underneath me. I just hit the deck. This can’t be real. I put the TV on, and it was actually on CNN. I just sat there in disbelief. And then I balled like a baby, like you should do. I just cried my eyes out. And you just don’t know what to do. You’re full of confusion, you’re full of anger, you want to fucking smash things to pieces. You want to play the music; you want to call Phil. All of these things are going on in your head. And obviously, Pat [Lachman] was singing for Damageplan at the time. I wanted to call Pat. Do you call, do you not call? What the fuck’s going on? Just a bazillion things are going around your head at the same time. But it was just terrible. It’s just seems inconceivable. I don’t think, now, that’s never happened to anybody else, has it? I mean, we lost people through self-induced things, like booze and drugs. We’ve lost people like Ronnie [James Dio] with the kinds of illnesses. But to be fucking brutally murdered is just insane. Absolutely insane. John Lennon is the only other person, isn’t it? They’re both in good company, as far as what they mean and how they’ve lived on in our lives. How Dimebag will always live on. That’s the only bit of solace you’ve got. It’s that the work that they made will live forever. That’s the blessing.
You played some pretty big gigs with Pantera, including some in Japan. What do you remember about those?
It was really funny ’cause we flew with them to Japan, and we’re all the way in the back in economy with all the roadies and crew. And Pantera were up in front in the second level of the airplane in these big swivel chairs, dining like kings. Luckily, I was kind of like their mascot, so I was just hanging out with Pantera the whole time in the upper deck. It was just so funny.
Dimebag had a reputation for being a prankster. Did he ever get you good with a prank?
He did this one he loved so much that he did it twice. I used to wear these engineer boots all the time. And he got like a hundred dollars worth of pennies, and he sent a roadie to run out in the middle of our show and fill pour the pennies into my engineer boots so that they wedged all around my feet and ankles, and they felt like they weighed a hundred pounds. It was just so heavy I could hardly move. And I’d come off stage, and he’d say, “Junior,” he called me Junior, “did you feel weighed down?” He was just fucking with me.
He did so many things. He used to do this horrible character where he put on this old man mask and a cape. He had this huge plastic dildo thing. And he would whip open the cape, and somehow he filled it with dish liquid or something. And somehow that large projecting thing would just start squirting all over everywhere. [Laughs] And he would do that right in the middle of our show.
He did so many pranks constantly. He did the one million and one Super Balls, I think it was St. Louis. Another time, at the end of the tour, they got a snow machine. And they made it snow on us for like an entire song. And all this fake snow was in our gear and fucking up everything. It would just never stop. It was onstage, offstage. He put a big inflatable shark on top of our bus. Everything had some significance and meaning to him, but I don’t remember what that could’ve meant.
Did you ever get him back?
Oh yeah, there’s a photo in my book. He was always talking about his stomach being “clubbed up “when he felt fat. So I had this back brace, because I’d broken a rib on tour, and I made it Darrell’s “club holder,” and I labeled it and slapped it on him. Another time, I think this was actually in a Pantera video, on our first tour with them, Dimebag always used to wear this Nine Inch Nails shirt. So I got this roadie to go on his bus and get his clothes out for me, and then a hat, and then his guitar. I had a little troll doll that had hot pink hair, it looked just like Darrell’s beard, and I taped it on my chin and kind of just mimicked him for a song or two. That was pretty funny, But yeah, whatever we could do, we were just trying to entertain each other all the time. The other thing was he always said “three” when somebody stuck a finger in their ear. Me and my friend in Tokyo made these huge fingers with the number three on them and we were jabbing him in the ears onstage.
It sounds like you were very close. Did you keep in touch after the tours?
Yeah, he was really like a brother to me. We were so close. I hadn’t talked to him in a little while when I moved to New Orleans. We lost a little touch. He was still out there touring. I was unfortunately at the funeral, and it was just very surreal. It’s still impossible to believe that he’s not with us.