Let It Scream, Watch It Burn: Looking Back (and Ahead) with John Corabi

John Corabi (center) with The Dead Daisies (photo by Danny Jungslund)

Rock supergroup The Dead Daisies are the hardest working men in show business.

Since 2013, the Daisies have issued five records (four studio, one live) and built an international fanbase that grows with every tour. Of course, such feats are not at all surprising when considering the group’s pedigree. The Dead Daisies are currently comprised of guitarist/founding member David Lowy (Red Phoenix/Mink), singer John Corabi (Motley Crue/Ratt/Union/The Scream), guitarist Doug Aldrich (Whitesnake/Dio/Lion) and bassist Marco Mendoza (Thin Lizzy/Whitesnake/Bill Ward Band). Late last year, the band was joined by former Journey/Ozzy Osbourne/Bad English drummer Deen Castronovo, whose session work over the years includes his pristine performance on Hole’s 1998 album, Celebrity Skin. This incarnation is represented on the just-released Burn It Down, a blazing collection of tunes and easily the strongest Daisies recording to date.

In addition to celebrating the release of Burn It Down, fan of the band’s ever-busy singer have two more reasons to be happy these days. Earlier this year, Corabi released Live ’94: One Night In Nashville, a complete onstage rendition of his 1994 eponymous album with the Crue (plus “10,000 Miles Away” from the rare Japanese edition of the band’s 1994 Quaternary EP). In the not-too-distant future, famed reissue label Rock Candy Records will release an expanded edition of Let It Scream, the 1991 album from Corabi’s pre-Motley Crue outfit, The Scream. John and I hit on all these topics in the following interview.   

We connected around this time last year to discuss the Daisies’ live album, and here we talking about the new studio record. You guys work fast, man!

Yeah, it’s funny. I’ve been with the band for three years, and we’ve done four albums! That first year I was in, I really started working on the first record [with them], Revolución, in March. I believe it was March 10th, and we were done April 10th and went right on tour. Then, [former guitarist] Richie [Fortus] and [former keyboardist] Dizzy [Reed] got the call to come back to Guns N’ Roses, and we brought [guitarist] Doug Aldridge in. Literally in January [2016], we were back in the studio again; less than a year had gone by since the release of our last record. They’ve got this thing; it’s usually an album a year, like, ‘Let’s go! Let’s do it.’ But it’s working, you know? That’s all I can say.

With the current incarnation of the Daisies, you’re all spread out all over the country. How do the logistics work out - with not only keeping the band active under those circumstances but with the fact that you guys are writing songs together?

That’s the other thing that’s weird about the Daisies. With pretty much every record that I’ve done with them, we’ve gone into a studio with absolutely nothing written. Everybody just kind of comes in with riffs or just very minimal song ideas or a verse or chorus. We get in a room for about 10 days, we write and we get anywhere between 17 and 25 of what I call ‘maps.’ Then, we go in and we start tracking. As we’re tracking, we’re kind of changing things up and tweaking it as we go. Once we get it to, ‘Okay, here’s the format,’ I’ll go and start working on song ideas – melodies and lyric stuff – by myself or with a couple of guys from the band. Then, I’ll go in and start singing. Even when I start singing – especially working with [producer] Marti [Frederiksen] – the melody is changing as I’m singing and we’re tweaking stuff. There are times when I’m singing a song and Marti or I will go back and listen to it, and there will be a line or something that’s just like, ‘Ugh, I can do better.’ We’ll go back in the next day and tweak that. Then, I’ll re-sing it and move on to the next song. But with pretty much everything that we’ve done – other than the live album, but the three studio records – we’ve gone in with nothing. 

We’ve written, recorded, mixed and mastered each one of the records in a month, maybe five weeks. Pretty much everything with the band is very quick, but we also do it very quick because we know we’re so scattered. We’ll usually meet in New York to write, and then we’ll come to Nashville – now that we’ve been working with Marti – and work until the record is done. We don’t take any days off; we’re usually in Monday to Monday every week, from probably 11 or 12 until 7, 8,9, 10 at night. We do that every day until the record’s done.

I live in Nashville, but because the other guys are coming here, they’re all in hotels and away from their families. It’s costing money for the rooms, money for food and money for all this stuff. We’re aware of it, not like when we were younger. When we go to work, we go to work and we knock it out as quickly and efficiently as possible. It works for us.

Obviously, the big change in the camp since the last time we spoke is that Deen’s now involved. He’s always been such a versatile drummer – there’s obviously the Journey stuff, but he’s also done some amazing session work over the years – and he slays on this new album. What has been the greatest impact he’s had on the Daisies?

Deen kind of went through a little bit of a dark period a few years ago, and he had a little bit of a bullseye on his back. Other than David and me, he’s worked with all the other guys. He knew of the band and he was a fan of the band. Even though he’s still involved with [Journey guitarist] Neal [Schon] and doing some things with him, I think this is a bit more aggressive than what he’s done for the last 20 years in Journey, and he’s just having fun. He’s just happy to be there, and he’s really positive and upbeat about everything. The guy’s got a ton of energy. I didn’t think I’d ever meet anyone with more energy than [former drummer] Brian Tichy, but obviously I was wrong. Deen’s just happy to be here, and we’re just happy to have him. I’m excited about getting into rehearsals now – not just for his drumming but being able to have that other voice for backing vocals. It’s gonna be sick.

My favorite part of the new album is that one-two punch of “Burn It Down” and “Judgement Day.” How did those two particular songs come together with the vibe you guys captured? They sound like a live band jamming.

Yeah, but even when we tracked the other songs, Deen was the room playing and everybody was in the room with him. With every record we’ve ever done, everybody sits around while the drummer’s playing, and they just kind of play along and feed off of each other. This record was no different. So, there is a bit of jamming, especially at the end of ‘Burn It Down’ with that big, long, kind of crazy, Hendrix-y kind of jam. But ‘Judgement Day” was a little more involved. We kind of recorded that song a couple different times. We always believe in it, but we tried it, I wrote lyrics, I sang it and it wasn’t right. I re-wrote lyrics, sang it and it still wasn’t right. I think it was Marti or Doug who came up with an idea of, ‘What if we did the verses with an acoustic guitar?’ As soon as we tried it, we were all like, “Yes! That’s it.’ It kind of gave me a different vibe, and Marti and I sat down and wrote lyrics for it. It was like, ‘That’s it!’ But there is a bit of jamming as well with – like I said earlier – everybody sitting in a room together and feeding off each other.

I want to touch a little bit on the other new release you have – Live ’94: One Night In Nashville. We’re actually approaching the 25th anniversary of the studio version of that Motley album next year. For some people I know, that’s the only Crue album they have – and they still play it all the time. Everybody who does an album hopes to catch lightning in a bottle and have material that holds up 25 years later. In the case of that record and the fact that you have this live album that’s celebrating it, what makes that material stuff that really holds up after 25 years?

I don’t know, to be honest with you. The fans who appreciate the record always say, ‘You can play that record on the radio right now and it would still sound current.’ I don’t know how we did it or why we did it; it was just literally four guys sitting in a room jamming together, and we came up with stuff that we thought was cool. We went in and took our time with it. [Producer] Bob Rock did an amazing job. To be honest with you, the whole live record came about because I was out doing shows with my solo band and somebody just happened to yell up to me in like March something or other in 2014, ‘Happy Anniversary!’ I’m sitting there like, ‘What the fuck are you talking about?’ So, I asked a girl in the audience, ‘What does that mean?’ She was like, ‘Today, 20 years ago, your Motley record came out.’ I was like, ‘Oh, cool.’ We did the set, and I was talking to my manager, and then he mentioned, ‘Maybe you should go out...’ Motley was going out on their Farewell Tour. He goes, ‘There are a lot of different places in America where Motley didn’t play on that [original album] tour.’ We never played in Canada or South America, Europe, Australia. He goes, ‘I think a lot of people would be into it.’

I really didn’t want to do it, but I talked to the guys in my band and said, ‘Do you guys want to do this?’ They said, ‘Yes.’ They learned the stuff impeccably, and we went out and did a bunch of shows. I started 2015 doing it, but I’m like, ‘I don’t want to do this the rest of my life.’ There were still a lot of places where I hadn’t played that set, so I just said, ‘Let’s record it for posterity. We’ll do a record; that way, if anybody wants to hear what it sounds like, they can have it and listen to it.’

It’s just one of those things, man…When I was doing [my] Motley record [tour], it was advertised as, ‘Motley ’94 live show from top to bottom, blah blah blah.’ I would walk off stage, and inevitably somebody would come up to me and go, ‘I’m a little bummed, dude. You didn’t play any Scream or Union.’ I’m like [sighs]. So I just said, ‘Let’s knock it on the head.’ Maybe for the 25th anniversary, I’ll go out and do a few more shows, but I’ve got so much material – from The Scream to Motley to Union to my solo stuff and now The Dead Daisies. When I go out with my solo band, I play a little bit of everything, trying to make everybody happy. It is what it is, and I think the guys did a great job playing the stuff. I’m extremely proud of my son [Ian], who played drums on the album. I don’t know…I’m just moving forward and doing The Dead Daisies, the [Motley] live album is out and now they’re re-releasing the Scream album later in the year. At some point, I’ve got a brand-new electric studio record due solo-wise. I’m just keeping busy.

I love that Scream album; it’s one of my favorite records from that era to this day. Obviously, the Motley thing changed the course of your career. When you look back, do you get a sense that maybe The Scream has unfinished business or that a second album could have been a reality at some point?

Well, they did do another record without me, with a different singer. They changed the name to DC-10. It doesn’t sound anything like The Scream. Honestly, a couple of years ago, we were offered to go over to Japan and do a festival for an astronomical sum of money. We all kind of sat down and talked about it. Unfortunately, Walt Woodward III, our drummer from The Scream, passed away six or seven years ago. We were just like, ‘Man… no.’ That is what it is.

My biggest thing with The Scream was, I was noticing that the fans were paying these astronomical sums of money for the album on eBay and these websites. I just wanted the album to be out; if they want to download it, they can for 99 cents a song or download the whole record for $10 instead of spending $200 to $500 for a copy of the record. Just put it out and make it available to people [and] put it on iTunes. I’m just happy that Rock Candy out of London, England is putting the record out. They may add a couple of bonus live tracks to it, and we’ll see what happens. But it is what it is. I think it was a great album, it was a great band and it’s become this little cult album that a lot of people still would like to grab or they had it and don’t anymore and want to get it. I’m excited that it’s coming out again.

Everyone in the Daisies has been around this business a long time, and you all bring that experience and success to the table. You’ve obviously worked with a lot of different people. How has the experience of working with these current guys most impacted you as an artist and musician?

With every other record that I’ve done up to this point, it was like a year writing and preparing. With The Scream, we got a record deal and they put us in a room and said, ‘Go write.’ Then, we did the Motley record and took a year – maybe a little longer. We just wrote, and it was the same with Union. The one thing that I’ve learned is how to communicate with the other guys in the band. Yeah, we have our disagreements; we have our arguments or whatever, but it’s done on a more adult level than when I was 20-however years old back in The Scream. When somebody disagreed with me, my first inclination was to throw my fists up and just start swingin’ – as with the other guys in the band as well. We’ve kind of learned how to communicate with each other as older men, but I’ve also realized that it doesn’t take a year to do an album. (laughs) You can literally go out and just put your nose to the stone and just get it done. So far, every record that I’ve done with the Daisies has been very quick, and we’ve gotten great reviews on all the records because I think they’ve just been honest. We’ve kind of gone with our first inclination or our first gut feeling with things. We’ll write a riff [and we’ll be like,]’ ‘Yeah, this rocks!’ Boom! We tweak it and we go. Everything’s just been really honest, and I think that’s definitely one thing that’s changed my opinion on writing.

*Portions of the above interview were edited for clarity. 

Official John Corabi Website

Official Dead Daisies Website 

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Rebel with a Cause: Michael Sweet on Christ, Critics and Keeping Stryper Alive (w/ Bonus Album Review)

Left to right: Robert Sweet, Michael Sweet, Perry Richardson and Oz Fox of Stryper (photo courtesy of Frontiers Music)

Stryper have never done things the easy way.

When many of their ’80s peers were penning odes to decadence and debauchery, Stryper released albums comprised of songs that displayed their devout Christianity. When other bands of the era wore studs and torn jeans, Stryper donned distinct yellow-and-black outfits that led some to compare them to bumblebees. And when their supporters thought they had them all figured out, the band put down their razors, got gritty and released 1990’s still-controversial Against The Law. (Also, let’s not forget the time they raised eyebrows with their decision to cover Black Sabbath and Judas Priest on 2011’s excellent The Covering.) Earlier this year, the band obliterated expectations once again with the release of “Take It To The Cross,” a very surprising tune complete with death growls – yeah, I said death growls – courtesy of special guest Matt Bachand (Shadows Fall/Act Of Defiance). All of these aforementioned things have regularly made Stryper the target of derision, but they’ve also helped the band establish one of the most devoted fan bases in the world. Love them or hate them, you can’t deny that Stryper have always followed their own path.

On April 20, that path will get longer and more intriguing with the release of the group’s latest studio album, God Damn Evil (reviewed below the following interview). Following a trend that began with the band’s 2005 reunion album Reborn, the new record features a sound much heavier than the one found on ’80s classics like To Hell With The Devil [1986] and In God We Trust [1988]. While several veteran bands begin to soften as the decades carry on, Stryper – singer/guitarist Michael Sweet; his brother, Robert, on drums; guitarist Oz Fox; and new bassist Perry Richardson (ex Firehouse) – have taken the opposite route with exceptional results.  

As I know from past experience, Michael Sweet is one of the most outspoken and straightforward people you’ll ever encounter in the music business. As expected, he put the sugarcoating aside when he recently rang me for the following chat. 

Very few bands with a 35-year history get heavier as they go along, but there have been many times since the Reborn album when you have gone that way. Has that been an intentional direction shift or something that’s been happening naturally as you’ve been writing new material over the years?

It’s certainly been intentional to some degree. What I mean by that is we like to involve and include our fans. I ask questions all the time, like, ‘What do you guys think about this?’ ‘What would you think if we did this or did that?’ We like to get their feedback and then we apply that a lot of times. We take that to heart. That’s how ‘Take It To The Cross’ came to be. We’ve had a lot of fans over the years request something heavier and bordering on Thrash. That’s what made us want to do ‘Take It To The Cross.’ It’s not that we’re only listening to the fans and doing something we don’t want to do. We grew up with real heavy music as well; we like getting heavy. We’re a Heavy Metal band at the core that also does occasional Pop Metal tunes and the occasional ballad. But we grew up on Priest and Maiden and all these bands. That’s at the core of our hearts and what we do musically speaking. So yes and no is what I’m trying to say. (laughs)

Not too long ago on your Facebook page, you posted a list of your most-favorite to least-favorite Stryper albums. That struck me as interesting, because the album in your past that I think is most identified as a risk-taker, Against The Law, was last on the list. The latest album, in a lot of ways, is also a risk-taking record, but it was on the top of your list. Because they are both albums that kind of stray away from what fans might call a ‘traditional’ Stryper record, what makes God Damn Evil a successful risk while Against The Law, in hindsight, might not have been successful in that way?

Well, with God Damn Evil, we didn’t walk away from everything – the message and the look, if you will. We still have the yellow-and-black thing – not as much as in ’86, ’87 and ’88, but we’re still doing it. We’re identified by that, and then there’s our signature guitar tone and our sound. Even though ‘Take It To The Cross’ is the one that’s the most out in left field on the album, ‘Sorry’ and all the other songs that people will hear will have those harmonies and the more traditional [sound] – although it is very different. We are taking risks and chances, but it’s more of that traditional sound. Against the Law wasn’t – at all. In many ways, it didn’t even sound like Stryper. We lost the guitar tone; we totally changed it – like it or not. Number two, we lost our yellow and black on Against The Law. Even though I’m not a big fan of the yellow and black – I don’t like the color yellow; I don’t have any yellow clothing in my wardrobe – it’s who Stryper is. It’s such a signature piece, and we threw that away. We grew beard stubble and scowled and tried to look like we were tough, bad and mad. We just became this completely different band. That’s not the case with God Damn Evil at all. As a matter of fact, we feel like we’re back on track to what we were in ’85, ’86 and ’88 much more with God Damn Evil, No More Hell To Pay [2013] and Fallen [2015] than we were with Against The Law. And then you add to it where our hearts were at the time. It was a really bad time in the history of Stryper. 

We were complete morons, complete hypocrites. We were going out and telling people about Jesus and God from the stage, and then we’d be hitting the bar and getting drunk with them after the show night after night. It was just a joke – a complete joke – during that period. People go through situations and they learn and grow from it, and we did. We experienced that, and I’m the man I am today because of it. I know Oz and Rob also learned from it. But at that time, we were really just a bunch of hypocrites kind of living a lie for a couple of years. Because of that, there aren’t good memories. Thank God we’re in the place that we’re in right now.

I think Against The Law is a really good album – it sounds good, Tom Werman produced it and there are some good songs on it – but it just doesn’t do anything for me at all in any regard. I never listen to that album ever, but I will throw in [1985’s] Soldiers Under Command and enjoy it.

Stryper took a pretty long break after the Against The Law experience, but the band has been back together now longer than you were together the first time around. What is it about this second time around that seems to work so well to the point where we’re talking about a new album in 2018?

It took a long time to get to that place where we felt like, ‘Okay, let’s do this again.’ We were apart from ’92 to ’03. That was probably mostly because of me; I just didn’t feel led to do it. I didn’t want to do it; I was happy in a different world and a different life, raising my kids and doing solo stuff and other things. I didn’t really want to go back. I guess, up to a degree, I was worried about falling back into that trap of the Against The Law period. All of our marriages suffered during that time; it’s just something I never want to repeat and go back to. Because of that, it took a long time to even consider getting back together. Once we did a ‘Celebration Tour’ in ’03, it kind of opened the door, because there were a lot of good things that took place on that tour. It opened the door wide for us to consider doing more.

I did a solo album called Reborn, and I was shopping that to labels – not a lot of people know that Reborn was a solo album. I was shopping it, and I had a record deal in place. I was going to release that as a solo album. I played it for Oz and Rob, and they really loved it. We wound up deciding to make it a Stryper album and release it as a Stryper album. We just feel like from ’05 when that came out to now, there’s been this surge and this relentless flow of creativity and excitement – all sorts of things coming from the well. We’re super happy and excited about that. We’re just kind of taking it all in as we can, while we can, until we can’t do it anymore.

Another thing I find interesting about your career is that there were times – especially when the real commercial peak happened with To Hell With The Devil becoming a huge hit – when Stryper was kind of getting it from both sides. You had the diehard Heavy Metal contingent saying you guys were soft and too Pop, and then you had the folks within the Church saying that Stryper were misrepresenting God and that the message was being given to your audience in an inappropriate way. When that was at its peak, was there ever a temptation within Stryper to reconsider things and maybe appease one side or the other? Ultimately, what led you to overcome those criticisms in those days?

That’s the thing about Stryper. Although some people might laugh at this – and that’s fine; I don’t really care – we’ve never been a sellout in any way, shape or form. We don’t sell out who we are, we don’t sell out who we are musically and we don’t sell out at what we feel led to do and the path we’re on [by saying], ‘Well, this side doesn’t like us, so let’s appease them.’ Yes, we listen to the fans and try to please them. I don’t mean it that way; I just mean that, like with ‘Take It To the Cross,’ for example, we didn’t even give it a second thought, like, ‘Well, maybe we shouldn’t do this because we’re going to alienate all the people who hate this kind of music,’ or, ‘It’s risky because we’re doing [mimics the death growls in the song’s chorus].’ We never even thought that; we did it because we wanted to do it. We don’t sit around and have meetings about, ‘Well, what should we do that will improve things and grow our fanbase or appease the haters?’ We just do what we were called to do.

At the same time, if you follow me on Facebook, you see that I’m a guy who likes to talk to people and inform the fans, and I give my opinion a lot. Sometimes people don’t appreciate that; they get upset. I’m a very opinionated, open and honest guy. I’ll tell fans, ‘Look, I don’t really care what you think if you don’t like this song or if you don’t like that I post funny videos all the time on my Instagram. Hit the block button!’ That’s just how I am – like it or not. People think it bothers me; they always say, ‘Oh, don’t let it bother you.’ It doesn’t bother me at all; that’s my whole point. I’m saying, ‘Well, just go, then. No big deal. No sweat off my back.’

That’s a healthy attitude to have.

       

Well, yeah, because life is too short to let all these people bother you, sway you and control you. It’s crazy. Who cares, you know? But again, I have to clarify that it is important to us to listen to the fans. We ask the fans, ‘Hey, what do think about us doing a ballad on the next album?’ If 90 percent of them say, ‘Yeah, we’d love it!’ we’ll do a ballad. If 90 percent of them say, ‘No, no, no. Please don’t do a ballad,’ we might consider not doing a ballad. We do want to make albums that the fans enjoy and appreciate. If they really don’t want to hear something or they do really want to hear something, we’ll do that. We try to involve the fans because they’re part of our journey.

This year represents 35 years since Roxx Regime became Stryper, and you’re clearly still actively doing this band. For you, what is the greatest fulfillment that comes from being a member of Stryper? What does it give you that you couldn’t have any other way in your life?

It’s two-fold. It’s being able to express who I am musically. God’s given me a gift and abilities and a passion for it. I get to express that through music, and I’m so thankful for it. I really am very blessed. Number two, I can take that music and use it as a tool to encourage and inspire people through the lyrics, through the message, through interviews and through what I do, how I live my life and what I say. At the end of the day – and even more important than the music – if I can help someone, then I’m fulfilled, man. I’m totally thrilled with the fact that I help somebody. For someone struggling or someone down and out who doesn’t know what to do, it may be a song, something that I’ve said or me meeting them that has helped turned them around – and 10 or 20 years later, they come up to me and say, ‘Man, I’m this person today because of that song or something you said.’ It warms my heart; it makes me say, ‘Wow!’ That’s pretty amazing, and that makes it all worthwhile. All the crap that we take, all the things that people say…If you’ve noticed, Stryper is one of the most questioned bands in the history of Rock and Metal. We’ve got the double-edged sword constantly slicing us to the bone. 

We just released the video for ‘Sorry;’ it’s about a volatile relationship. We got some people saying, ‘It’s not about Jesus.’ (laughs) Well, it is about Jesus, because Jesus tells us to love one another, trust one another and be good to one another. That’s the message of the song, really - stop blowing it and saying you’re sorry all the time and start being a better person. We just get heat constantly, but we just learn to rise above it. What makes going through all that worth it is being able to reach and inspire some people. That’s just awesome.

*Portions of the above interview were edited for clarity. 

ALBUM REVIEW: Stryper: God Damn Evil

Christian rockers Stryper haven’t always been “cool,” but they’ve always been great.  

The group’s 35-year career has seen them embraced by millions of fans while also being the object of distain of Metal elitists and some factions of the Church alike. Through it all, they’ve maintained their own course, releasing the music they’ve wanted to make and leaving negativity in the dust. This mindset continues on their latest – and quite possibly greatest – album, God Damn Evil.

The album kicks off with the much-discussed “Take It To The Cross,” an uncharacteristically Thrashy number that serves to inform the listener from the beginning that Stryper are not content to simply repeat proven formulas of the past. The grit continues on the urgent “Sorry,” an examination of a fractured relationship that boasts one of guitarist Oz Fox’s most incendiary solos in years. The classic Stryper guitar tone is in full force of “Lost,” with the band responding to the current state of our world (“Watch the news and read the stories/it’s a nightmare”) with a shrieking chorus that finds Sweet asking his audience (Christians and beyond) a critical question in modern times: “Are we lost?” It’s a song of heartbroken protest in the tradition of Black Sabbath’s “War Pigs” – a screaming push against a world bent on betraying its heart. It’s also heavy as heck, much like the album’s title track – a Bluesy fist-pumper straight from the Accept school of anthemic earworms.

Other highlights on God Damn Evil include the mid-tempo burn of “The Valley” – a track propelled by a main riff as bulletproof as anything found on the latest Judas Priest release – and “Can’t Live Without Your Love” – a scorching ballad that strips away the more saccharine tendencies of the band’s past efforts and proves that sweetness can still have a razor-sharp edge.

One of the genre’s most underrated timekeepers, Robert Sweet absolutely shines on God Damn Evil, displaying a level of groove and skill akin to Bill Ward in his mid-’70s prime. (Check out the man’s playing on the album-closing “The Devil Doesn’t Live Here.” Extraordinary.) As for Michael, his voice on God Damn Evil is utter perfection that pairs the high-pitched wails of years’ past with the raw vibe he’s continually explored since the band’s early-2000s reformation.

I’ll say it right here, right now: God Damn Evil is the strongest and most satisfying Stryper album since To Hell With The Devil.

Whether you view Stryper as the solid songwriters/performers they truly are or a decades-old punchline, there is no denying that they have built a durable and enduring career by doing things their way. That’s Rock ‘N’ Roll credibility in my book.

Official Stryper Website


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