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Union Vide
MessageSujet: Union   Union Icon_minitimeMer 28 Avr - 6:43

28.04.2021 06:42:25



UNION - For You (John Corabi, Bruce Kulick) Motley Crue, Kiss


1 vue•28 avr. 2021

Bonus Track of the Japanese Edition - UNION 1998.
John Corabi (Motley Crue): vocals
Bruce Kulick (Kiss): Guitar
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeJeu 29 Avr - 21:44

29.04.2021 21:42:44



Bruce Kulick in UNION - 'Old man wise', Live at Mabels 8/31/98 Champagne, IL


42 vues•29 avr. 2021

Bruce Kulick in UNION - 'Old man wise', Live at Mabels 8/31/98 Champagne, IL
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MessageSujet: Re: Union   Union Icon_minitimeVen 30 Avr - 6:35

30.04.2021 06:34:59



Union - Everything's Alright


Linda performance da banda Union, do DVD 'Do Your Own Thing Live!".

John Corabi (vocal e guitarra)
Bruce Kulick (guitarra)
Brent Fitz (bateria)
Jamie Hunting (baixo)
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeVen 30 Avr - 6:37

30.04.2021 06:36:34



Union / Live at ? Indianapolis IN / 8-30-98 / Version 1 Close / John Corabi / Bruce Kulick /


Union / Live at ? Indianapolis IN / 8-30-98 / Version 1 Close / John Corabi / Bruce Kulick /
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeDim 2 Mai - 8:27

02.05.2021 08:26:42



Union-Reunion by John Corabi and Bruce Kulick at 2019 KISS Expo


Union-Reunion by John Corabi and Bruce Kulick at 2019 KISS Expo
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeSam 15 Mai - 9:54

15.05.2021 09:53:46



Union - Love (I Don't Need It Anymore)


Union is an American rock group formed in 1997 featuring lead vocalist and guitarist John Corabi (ex-The Scream and Mötley Crüe), guitarist Bruce Kulick (ex-Kiss), bassist James Hunting, and drummer Brent Fitz (Slash, ex-Theory Of A Deadman).
Union was formed in 1997 when ex-Kiss guitarist Bruce Kulick, ex-Mötley Crüe vocalist and guitarist John Corabi, bassist James Hunting, and drummer Brent Fitz united to form a band. Kulick left Kiss after they decided to go back to their original lineup, and Corabi left Mötley Crüe under similar circumstances.
Union released two studio albums and a live album. Union, recorded in 1997 and released in 1998, which featured two singles: "Old Man Wise" and "October Morning Wind". There are three versions of this CD. The first printing omitted "Old Man Wise" from the back cover art. The second version, a Japanese import, included the bonus track "For You" with Kulick on lead vocals. The third was reissued with the bonus cover track of The Beatles' "Oh! Darling" sung by Corabi. The CD was co-produced by Corabi, Kulick and Curt Cuomo.

In 1998 a grass root effort, "The Union Work Force", spread out across the U.S. as the band toured small clubs from coast to coast. Kulick and Corabi took this a step further by performing at many of the Kiss Expo's doing acoustic versions of their songs. On a few occasions, Fitz and Hunting were able to join them.

In 1999, UNION Live in the Galaxy, mixed by Bruce Bouillet and Kulick, was released. Recorded at The Galaxy Club, the CD features songs from the band's first CD, two Kiss songs ("Jungle" and "I Walk Alone" from Carnival of Souls), "Power to the Music" from Corabi's Mötley Crüe days, and "Man in the Moon" from The Scream. "Surrender", a Cheap Trick cover, and the added acoustic tracks "October Morning Wind" and The Beatles' "You've Got to Hide Your Love Away" proved the band's versatility.

The new millennium dawned on Union's second studio CD, The Blue Room, co-produced by Kulick and Corabi. The CD spawned two singles, "Do Your Own Thing" and "Who Do You Think You Are". The Blue Room Tour took the band through the U.S., Europe, Australia and Central America.
By the end of 2000, one by one the band members began to get involved in other individual musical projects: Fitz toured and recorded with Guns 'N Roses guitarist Gilby Clarke, Kulick joined Grand Funk Railroad as their guitarist, and Corabi joined Ratt as their second guitarist.

In 2001, both Fitz and Hunting joined original Mötley Crüe vocalist Vince Neil as band members.

In 2005, the group played together for the first time in about three years with two live shows in Japan. Fitz was unable to attend (due to touring commitments with the band Theory Of A Deadman), so Kulick's former bandmate and friend Eric Singer filled in. Also in 2005, Kulick oversaw the release of a Union DVD, Do Your Own Thing Live, containing two full-length live shows plus bonus material. In November and December 2005, Union toured in Europe to promote the DVD; Kulick and Corabi were joined by Chuck Garric and Fred Coury instead of Hunting and Fitz.

Corabi, Kulick, and Singer also played together in the band ESP (Eric Singer Project).
Fitz became a member of the Canadian band Econoline Crush in 2008, as well as a touring drummer for Indigenous, Alice Cooper, and Ronnie Montrose.

Fitz also performed in Las Vegas with "Tinnitus", a band made up of several touring musicians from Blue Man Group, with Fitz playing keyboards and guitar.

In 2009, Kulick, Corabi and Fitz all performed in Las Vegas with the show Monster Circus. Fitz was keyboardist/guitarist, Kulick on guitar, and Corabi on vocals and guitar.

In 2010, Fitz joined Slash in his band as drummer.
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeSam 15 Mai - 9:57

15.05.2021 09:56:04



UNION - Do Your Own Thing Live (Full Concert)


This live DVD is out NOW, exclusively on http://kulick.net/merchandise.shtml

UNION concerts: a full one from 2001 and one for ESP guitars at MI from January of 2000
UNION is
Bruce Kulick:  Guitars and Vocals (KISS)
John Corabi: Vocals and Guitars (Motley Crue / The Scream / Ratt)
Brent Fitz: Drums  (Theory of a Deadman / Slash)
Jamie Hunting: Bass (David Lee Roth)

Setlist:
Do Your Own Thing
Everything's Alright
Who Do You Think You Are?
Old Man Wise
Around Again
Heavy D...
Star Spangled Banner
Jungle
Love (I Don't Need It Anymore)
Hypnotized
Pain Behind Your Eyes
Power To The Music
I Walk Alone
Man In The Moon.
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeDim 16 Mai - 12:00

16.05.2021 11:59:35



UNION - CBGB 2000 - Do Your Own Thing/Love (I Don't Need It Anymore)


188 vues•15 mai 2021

Here's one you asked for from the vaults...some footage from The Blue Room album launch party at the legendary CBGB in New York, filmed on February 9, 2000.  We may post more from this show later, but for now, here are the opening two songs, "Do Your Own Thing" in it's first ever live performance, and "Love (I Don't Need It Anymore)" in a rare second song spot in the set list!  This was a shortened show, so we only played about 50 minutes and made sure to hit everyone with the biggest songs!
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeMer 14 Juil - 12:08

14.07.2021 10:06:48



UNION - (BRUCE KULICK KISS - JOHN CORABI) Cold Gin, Live in Buenos Aires 1999


3 vues . Première diffusée il y a 15 heures

UNION -1999-10-12 Buenos Aires Argentina
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeLun 9 Aoû - 16:42

09.08.2021 14:41:15



UNION | LOVE I DON'T NEED ANYMORE (1997-2002, 2005)


24 vues . 7 août 2021
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeMar 14 Déc - 17:55

14.12.2021 16:53:59



Union: live in Helsingborg, SWE 1999-12-04


258 vues . 4 déc. 2021

Live at The Tivoli, Helsingborg, Sweden 1999-12-04 (December 4th)

setlist:
Do your own thing, Love (I don’t need it anymore), Pain behind my eyes, Jungle, Who do you think you are, Old man wise, Heavy D, Everything’s alright, Surrender, I walk alone, Man in the moon, Cold gin.
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MessageSujet: Re: Union   Union Icon_minitimeJeu 3 Fév - 8:28

03.02.2022 07:25:26

https://bravewords.com/news/union-two-very-special-releases-coming-soon

UNION - "Two Very Special Releases" Coming Soon


February 1, 2022, a day ago

Union 60721110

Deko Entertainment and Blackbird Entertainment, Inc have teamed up with Union and all the original members - John Corabi, Bruce Kulick, James Hunting, and Brent Fitz - to bring you two very special releases. All details will be revealed on March 1st. Until then, sign up for the Deko Newsletter to get all the latest updates, and check back regularly as we slowly unveil what’s to come…

Union Union_10

Union is comprised of vocalist / guitarist John Corabi (Mötley Crüe, The Scream), guitarist Bruce Kulick (KISS, Grand Funk Railroad), bassist Jamie Hunting (David Lee Roth, Vince Neil), and drummer Brent Fitz (Slash Featuring Myles Kennedy & The Conspirators, Vince Neil).

Formed in Los Angeles, California in 1997, Union released two studio albums and one live album: Union (1998), Live In The Galaxy (1999), and The Blue Room (2000).
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MessageSujet: Re: Union   Union Icon_minitimeJeu 10 Fév - 12:20

10.02.2022 10:54:12

https://bravewords.com/news/union-celebrates-22nd-anniversary-of-the-blue-room-album-launch-party-by-sharing-video-from-cbgb-show

UNION Celebrates 22nd Anniversary Of The Blue Room Album Launch Party By Sharing Video From CBGB Show


February 9, 2022, 8 hours ago

Union 62042110

22 years ago today - February 9, 2000 - Union played the legendary CBGB in New York for their album launch party for The Blue Room, the band's second studio full-length.

"In celebration, here's the full show from that night," says the band. "It was a short set as this was a promotional appearance and we had a party to get to afterward!"


Deko Entertainment and Blackbird Entertainment, Inc have teamed up with Union and all the original members - John Corabi, Bruce Kulick, James Hunting, and Brent Fitz - to bring you two very special releases.

Union’s self-titled album and The Blue Room will be available on vinyl with all new artwork and colored variants. All details will be revealed on March 1st. Until then, sign up for the Deko Newsletter to get all the latest updates, and check back regularly as we slowly unveil what’s to come…

Union Union_11

Union is comprised of vocalist / guitarist John Corabi (Mötley Crüe, The Scream), guitarist Bruce Kulick (KISS, Grand Funk Railroad), bassist Jamie Hunting (David Lee Roth, Vince Neil), and drummer Brent Fitz (Slash Featuring Myles Kennedy & The Conspirators, Vince Neil).

Formed in Los Angeles, California in 1997, Union released two studio albums and one live album: Union (1998), Live In The Galaxy (1999), and The Blue Room (2000).
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MessageSujet: Re: Union   Union Icon_minitimeJeu 10 Fév - 12:27

10.02.2022 11:25:59


Union - The Blue Room - Live At CBGB - 2000


2 vues . 10 févr. 2022

Union Band :
John Corabi — Lead vocals, guitar (Scream, Mötley Crüe)
Bruce Kulick — Guitar, vocals (Kiss)
Jamie Hunting — Bass
Brent Fitz — Drums
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MessageSujet: Re: Union   Union Icon_minitimeJeu 10 Fév - 12:29

10.02.2022 11:28:21


Union - Union 1998 & The Blue Room 1999 - Full Album - EXCLUSIVE By HARD ROCK GENERATION !!!!


2 vues . 10 févr. 2022

01 - Do Your Own Thing.
02 - Dead.
03 - Everything's Alright.
04 - Shine.
05 - Who Do You Think You Are.
06 - Dear Friend.
07 - Do You Know My Name.
08 - Hypnotized.
09 - I Wanna Be.
10 - No More.
11 - Do Your Own Thing.
12 - Dead.
13 - Everything's Alright.
14 - Shine.
15 - Who Do You Think You Are.
16 - Dear Friend.
17 - Do You Know My Name.
18 - Hypnotized.
19 - I Wanna Be.
20 - No More.

John Corabi — Lead vocals, guitar (Scream, Mötley Crüe)
Bruce Kulick — Guitar, vocals (Kiss)
Jamie Hunting — Bass
Brent Fitz — Drums
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Union Vide
MessageSujet: Re: Union   Union Icon_minitimeDim 21 Aoû - 10:47

21.08.2022 10:28:18
https://vwmusicrocks.com/an-interview-with-bruce-kulick-discussing-his-years-with-union/

An Interview with Bruce Kulick Discussing His Years with Union

Union Dsvvrr10
All images courtesy of Bruce Kulick/Header image credit: William Hames

ANDREW DALY
AUGUST 19, 2022
Through the lens of dissolution, Bruce Kulick and John Corabi came together, bonded through mutual pain, and a love for music.

Heedlessly cast aside in the wake of two reunions, for the first time in years, Kulick and Corabi found themselves mutually snake bitten, and without a net in a harsh, and unforgiving business.

Unsure of how to move forward, Kulick resolved to form his own group, and through happenstance, the ESP-slinging guitarist was introduced to underexposed vocalist, John Corabi, and his heartfelt, soul-baring form of songwriting.

The kinship between the two relegated stars was immediate, and after an impromptu jam session at Kulick’s home, the duo’s answer to the world was Union, a band set to ride the rough road ahead through grassroots fortitude, and unrelenting songsmith.

“Going into it, we certainly weren’t looking at Union to be something where I was lighting my hair on fire or blowing up the stage,” said Kulick. “It was going to be about the music. Despite the surface differences, the chemistry with John was immediate.”

With no directive other than to do what came naturally, and go for it, Union enlisted veteran drummer Brent Fitz, and then rounded out the lineup with melodic, thundering bassist, Jamie Hunting, and hit Curt Cuomo’s home studio to begin recording what would become Union (1998), an eventual cult classic that shocked the system of a decade steeped in grunge through a heartfelt, yet hard-edged style seldom seen in the era.

After years of playing the world’s biggest stages with KISS and Mötley Crüe, the brutal reality of a back-to-basics club tour was stark, but with the assistance of a small, but loyal fanbase dubbed the “Union Work Force,” Kulick and his cohorts undertook one of the grittiest tours of their careers and remained a relentless force night in, and night out, no matter the stage size, or venue conditions.

The critical response to Union was nothing short of watershed, but without the support of a major label, and the ignorance of the pop-consuming world, Union found itself buried in a scene bristling with Nirvana wannabees, and teeny bopper tunes.

Defiant in the stony face of defeat, Kulick, Corabi, Fitz, and Hunting reconvened in the studio for one last shot at glory, and once again, recorded a triumphant affair in The Blue Room (2000), a record steeped in duality bred through jinxed luck.

If Union is to be remembered for its hard-edged, pop sensibilities, then The Blue Room is to be remembered as a soul-stripping lament, reflecting the raw emotion of a band on the ropes, belligerently refusing to lay down.

Still, by the dawn of the new millennium, Union was no more. Kulick and his bandmates ultimately laid the group to rest after continued commercial indifference forced their hand.

While it would be easy for Kulick to feel vexed, instead, the veteran guitarist avoids looking back in anger, keeping his gaze fixed on the meaning and legacy of the group.

“I have to admit that Union, it had certain trials and tribulations,” said Kulick. “You know, life was hard there for a while, but I was always, and still am very proud of the music. And I still think a lot of that music holds up now.”

Kulick recently connected with me via phone to recollect the history, trials, and enduring legacy of Union, one of the late 90s most underexposed bands.

Andrew:
In the wake of being jettisoned from KISS, what was your state of mind like leading up to the formation of Union?

Bruce:
Well, I certainly didn’t know what to do, but I knew that I was gonna have to start from the ground up.
You know, you get pretty comfortable in a band like KISS, and even though you’re not the one making the decisions, you’re still contributing creatively when they ask. But the job, it’s just there, if you know what I mean. With KISS, it’s a huge band, so you don’t have to think about the fans, really, because they’re going to be there. I mean, in the sense of building a fan base, you’re going to do the best you can, and then it’s going to just evolve naturally from there. But at the end of the day, it’s still KISS, and you’re going to be able to tour, you’re going to be able to perform, and really, in my case at least, you don’t have to make any big decisions. So, when that ended, all of a sudden, for me it was kind of like getting kicked out of your house or your family. I was on my own, and I wasn’t sure what I should do.

Andrew:
From there, how did John Corabi enter the picture?

Bruce:
Well, I talked to some business people that I respected, and I remember that it was actually Larry Mazer. Many will remember that Larry had managed KISS for quite a few of my years with the band, from Hot in the Shade through Revenge and Alive III. So, I talked with Larry, and he said, “Why don’t you work with John Corabi?” Larry was a big fan of John’s, and I knew of John, but I didn’t know him personally. So, I thought about it, and I felt that it was a worthy meeting. After that, John came over to my home in West Hollywood, and we had chemistry right away. We started to play some guitars, talked about music, and talked about our personal experiences. And even though I think we’re two very different people in some ways, with John being the guy with the tattoos, the piercings, and the wild hairdos, still, we had a common ground of musical tastes.

Andrew:
In my conversation with John, he recalls that the two of you wrote “Around Again” during that initial meeting. Is that your recollection as well?

Bruce:
Yes, that’s true. You know, lyrically, John was really great at putting together a storyline, whereas I might tweak a line or a word here and there. But I know that John has a very deep way of expressing himself, which is part of his songwriting talent. And he can come up with riffs, and he knows that I can come up with riffs, melodies, and chordal things along with him too. So, with “Around Again,” I really think that there was a bit of karma within the lyrics of that song, and I think that John used Union as a big way of sharing all his inner turmoil between Mötley Crüe dumping him, and he was going through a bad relationship ending as well. And I was separated from my soon-to-be ex-wife at the time, and I was suddenly without KISS, so we both had a lot to share, and bond over.
Union Thumbn15
All images courtesy of Bruce Kulick/Image credit: William Hames

Andrew:
You mentioned Larry Mazer, who ultimately managed Union. I know that Larry was a big supporter of what you contributed to KISS on Revenge, so it makes sense that he would have gravitated toward what you were doing with Union. What was his initial vision?

Bruce:
Well, this was unlike him walking into KISS where he might have said, “Gene, don’t stick out your tongue out so much,” or “Paul, stop with the girl’s panties onstage.“ [Laughs]. With Union, Larry just wanted us to be ourselves, write the best songs that we could, and get out there and perform. I mean, there wasn’t any gimmick, you know? Like, with KISS, they came from the makeup years, and then would always have the most elaborate shows that they could afford to perform, but with Union, we had to start from the ground up. So, Larry was happy with the material, he thought everything was great, and he was as supportive as he could be. So, I think the direction was basically just, “Do the best you can.”

Andrew:
How did Brent Fitz and Jamie Hunting then enter the fold?

Bruce:
Well, I can tell you that initially, I was very happy to meet John Corabi because I thought the chemistry was great. So then, like any band, you’ve got to figure out, “Okay, are we four-piece? Are we a horn group? What are we gonna do?” [Laughs]. After thinking about it, we eventually gravitated towards the four-piece configuration where John could sing and play some guitar, with me on lead guitar, of course. So, we needed a great bass player and a great drummer to round that out. And then I met Brent Fitz, who I still currently work with when I do the KISS Kruises, and when I do my solo shows too. So, I met Brent, I liked him a lot, and I thought he’d be a great addition to Union. The bass player was the last person we added, which as history shows was Jamie Hunting. So, we looked at a few people, and then one night we saw Jamie performing at an industry party. I watched him, and I was very impressed with his talent, and it was just natural to invite him to join Union. After that, it was the four of us, and we were rolling.

Andrew:
Can you reveal who the other notables that you looked at to play bass were?

Bruce:
Well, for example, there’s a guy who is still in touch with Brent a bit that I recently had some contact with, and he reminded me how he did a session for John and me on a tribute record. His name is Chaz Butler. So, we got to talking, and he happened to say to me, “You know, both you and John were interested in me being in Union.” And it’s funny, I know that we talked to a few people, but I didn’t remember that until Chaz reminded me of it. There was another bassist that I think went on to join a fairly popular band, and I’m not remembering his name or the band. [Laughs]. But yes, there was one other guy that we talked to, I just can’t remember who. But like I said, with Jamie, it was clear to us as soon as we saw him play at this event that he should be our bass player. It was just the way he played, and the way he looked; he was perfect.

Andrew:
With Eric Singer being jettisoned from KISS along with you, was he ever considered for Union’s drumming vacancy?

Bruce:
You know, for some reason, my recollection was that Eric wasn’t looking to join a band. And I didn’t necessarily want Union to be a band half comprised of former members of KISS either. But I really never believed that Eric wanted to be in a band anyway. And it never really came up where I got the chance to say, “Eric, you’ve got to be in Union,” because in my mind, Union was not something Eric would have wanted to do. And yet, years later – and it’s not like Eric came to me and said this – but I would hear things from others like, “Eric doesn’t know why he wasn’t asked to be in Union.” I have to be honest with you, I found that kind of funny because the recollection I had was that he wasn’t looking to join another band at that time.

Now, who knows what that would have looked like had Eric joined? I don’t think Union would have been necessarily more successful though. But I just find such a disconnect in someone making the comment that Eric wanted to be in Union. If he did, it was news to me because I didn’t think he wanted to be in a band. And to this day, I think to myself, “Maybe I should ask Eric, ‘Did you really want to be in Union?'” [Laughs]. Thinking on it, if I had asked, I don’t think Eric would have said, “No.” I mean, even if he didn’t wanna do it, knowing Eric, he probably would have done it anyway. [Laughs].
Union Thumbn24
All images courtesy of Bruce Kulick/Image credit: William Hames

Andrew:
Union ultimately signed with Mayhem Records. Given the band’s pedigree, was there any major label interest?

Bruce:
No, all we could get was an indie record contract. Eddie Trunk has done whole shows around this topic, so it’s been well documented, but when Nirvana came out, they basically dismantled everything around them. The whole Seattle thing really affected rock music, and a lot of labels just completely turned their backs on anything and everyone that came before. So, suddenly, it was hard for guys like us to get a deal, you know? It didn’t matter where you came from either, because I came from KISS, and even though KISS kind of crosses over some of the boundaries, my version of KISS was certainly more along the metal spectrum.

So, no matter what the pedigree of the band was, it just didn’t matter at that point. Using KISS as an example, Revenge wasn’t a platinum album, but it should have been. The Revenge Tour should have continued on, but it couldn’t. And all of that was because of this new vibe, this new sound, this new type of music, and this new movement that was started by Nirvana. Now, don’t get me wrong, I can’t criticize that. They were fresh and new, they were powerful, and everybody loves a new thing. To this day, it seems like every 10 years there’s a bit of a change in what people get passionate about when it comes to music. So, the result of that was that no label would take us seriously. There was no major label interest in Union. Absolutely none.

Andrew:
What went into choosing Curt Cuomo as producer for Union’s debut?

Bruce:
Well, Paul Stanley introduced me to Curt, and he had become a good friend of mine, and I was writing songs with him. And Curt really loved John, they were both Italian, and they just hit it off. After that, we started writing the songs, Curt, John, and I, and then we started recording in Curt’s home studio. From there, we wound up going and taking a lot of those demos, moving into a bigger studio, and finishing the songs.

Andrew:
What sort of an effect did Curt have on you from a playing standpoint?

Bruce:
Oh, Kurt was very supportive of me following my instincts. I think his best contributions were more based on helping shape the songs, and helping John with lyrical things. I didn’t take many directions from Curt lead guitar-wise, but Curt did serve as a very good sounding board for John, myself, and the rest of the band. I do know that Curt was very upset when we used another producer for the second record. I didn’t mean to freak him out, it was kind of a band decision to try someone new. It wasn’t because Curt didn’t do a good job, you know, it was nothing like that. It wasn’t that Curt didn’t do a great job because he really did.
Union Thumbn17
All images courtesy of Bruce Kulick/Image originally appeared in Metal Edge Magazine

Andrew:
Your approach to your leads on Union was distinct to be sure. How would you say it differed from the approach you might have taken with a KISS record, for example?

Bruce:
Well, look, Gene and Paul, depending on whose song it was, certainly, they would have a point of view or like a flavor in their mind for how they think the solo could be, so if I wasn’t instinctually there, they would then jump in. Now, with Union, when we were recording the album, it’s not that I wouldn’t have wanted John or somebody else to say something if things aren’t developing, or add in something good for the song but I was more in control. I didn’t have to worry about Gene and Paul critiquing it, and in essence, with Union, most of the songs were co-written by me anyway, so I didn’t really need a lot of direction.

But with the second record, Bob Marlette, being another really talented producer, and engineer, like Curt, but having a pedigree with Frank Zappa, and people like that, he would at times jump in with an opinion here and there. It might be about where to start on the solo, what octave, or whatever, but fortunately, I really didn’t struggle a lot with what to play. To be honest, it was always pretty fluid, and that’s why when I listen back to some of the solos, I’m always pleased. I don’t feel like I was forced to try something I wasn’t comfortable with.

Andrew:
“Love (I Don’t Need it Anymore)” is one of my favorite songs. What are its origins?

Bruce:
We were just messing around, and John started with that really interesting intro riff, and Curt jumped right in and said, “You’ve got something there.” I remember I just contributed certain sections, I mean, it’s kind of funny, now we’re going back enough years that I struggle with some of the minutiae of who did what, but I liked that it was hard rock, a little edgy, but also pop. And I remember that at one point, Brent challenged us and said, “Are you sure this chorus is right?” I was surprised because, to me, it was one of the most right choruses on the whole album. [Laughs]. So, I looked at him and I said, “Yeah, I do. I think it’s really good.” And it turned out to be a popular song – not that we ever had a hit single or anything – but it’s certainly one of the key tracks that we were known for.

Andrew:
“Tangerine” is another standout. Can you recollect its inception, Bruce?

Bruce:
That was another crazy riff from John. You know, I love when John dials in something that’s distinctly him. John, you know, he always goes to a Zeppelin or Aerosmith type of vibe but done his way, and I could jump right into that genre very well, so we worked well together in that way. So again, with “Tangerine,” it was edgy but there were pop elements to it. With that, Curt was important as well, because he was able to help with the background vocals that Brent and Jamie added. Even though those guys never sang lead, they really had great voices to add to songs like that. It’s a pretty cool track, but I mean, there isn’t a song of ours where I’m like, “Oh, I never liked that one.” On both of the Union records, I really loved every song.

Andrew:
While he’s revered for his voice, John is oftentimes overlooked as a guitarist, and it seems he was instrumental to Union in that capacity. How would you describe your interplay with John as opposed to Paul Stanley?

Bruce:
Well, in some ways, John is more similar to Paul, in the sense that, as you probably are aware, Paul can play some leads, but it’s just he’s not super fluid on lead guitar. And Paul knows that but there are songs from the KISS catalog that he chose to play the lead guitar on, not so much in my era, but certainly in the makeup days. Now, John could probably pull off a solo, and he’s been doing some soloing on his more recent solo material, but he isn’t as fluid as me. So, I always respected John, especially as a strong rhythm player, who could come up with parts and write great riffs, but as a lead player, he just wasn’t as fluid. That doesn’t make him a bad player by any means, but he’s not going to be featured as a lead guitar player in the band. I mean, take The Beatles for instance; John Lennon played very uniquely, and he sometimes was the lead guitarist, so that’s sort of how I’d view it. With that being said, it didn’t come up for us in Union for me to be like, “Okay, John. Now you take the lead, go ahead.”
Union Thumbn20
All images courtesy of Bruce Kulick/Image credit: Williams Hames

Andrew:
Your contributions and influence on KISS’ Carnival of Souls are well documented, but I assume not everything you brought to the table made it onto the record. Was there anything that you demoed for Carnival of Souls that ended up on the first Union record?

Bruce:
Yes, there was. The one that really sticks out that I can be positive about was “Old Man Wise.” The whole intro of it and everything, that whole vibe was something I worked on with Gene and that I had presented to Gene and he liked it. And during the sessions for Carnival of Souls we were fooling around with it, but we never turned it into a song. I knew that it was a really good, edgy riff; a little grungy, but it was just very catchy. So, I brought it to the studio, John and I jumped all over it, and it became the very first song on the first album, which was great.

Andrew:
In the wake of the album’s release, you experienced a critical windfall but struggled commercially. It seems that Union was in a unique position of having veteran players but also being an entirely new band. So, I would assert that Union fell into a gray area commercially. Would you agree?

Bruce:
Yeah, I think that’s fair. I think we had some great things going for us meaning; okay, you’ve got two guys that are known for being in some other big bands, but both of those bands moved on in a very big way. Mötley Crüe finally refound themselves with Vince Neil and they started to rebuild that, and KISS certainly went on to do something incredibly huge by being back in makeup. And when that happened, it just left my era in complete disarray, and in some ways, it made my whole era inconsequential. Of course, time has been very kind to my era of KISS and now my years are much more revered and respected, but at the time, when Union was coming out, it didn’t mean it a whole lot. And again, we were just lumped into that category of the old guard in an era when the new guard was in, and so we just didn’t get a break. If we had gotten a tour with one of those bulletproof bands who no matter what the flavor of music is, you know, let’s say an Alice Cooper tour or something, we would have maybe had some exposure. But we couldn’t gain traction, and we didn’t get offered any significant tours like that. And that made for a very hard road to travel, and eventually, of course, made it impossible to continue.

Andrew:
Tell me a little bit about the Union Work Force and the grassroots club tour Union embarked on in support of the first record. After so many years with KISS, it must have been a shock to the system.

Andrew:
Well, I knew I had to go back to a very low-budget version of touring, and as hard as that was, I really did believe in the music and the band. I do remember that the fans were incredible. I mean, those people got it, and as much as they might have been excited about KISS being back in makeup, they didn’t forget me. They loved our music, they’d show up, they’d help sell the merchandise, they’d be our runners, and they would just be so supportive. I’m still friends with quite a few of them from back then, and that’s not such a common thing when you think about it. Sure, every band has true fans, but do The Rolling Stones stay in touch with a couple of regular fans? I’m not so sure. I mean, even Gene and Paul have some über fans that they know and stay in touch with.

It’s always interesting when bands do get close with some fans, and without them, I don’t think Union could have survived those primitive tours. So, I want to thank them, and like I said, I’m still friends with some of them. They really made a tough situation just a little less painful by being supportive and helping us out. And the people who did the newsletters, sent emails, or whatever they did, I mean, let’s face it: they were huge for us. But with every band, the fans are what make it, because really, they make you known, make you successful, and give you the opportunity. So, I’m very grateful for that.
Union Thumbn18
Union Thumbn19
All images courtesy of Bruce Kulick/Image credits: Daniella Clarke

Andrew:
Live at the Galaxy was recorded on that initial tour, right?

Bruce:
Yeah, it was on the first tour. Basically, since Cinderella was going to record that night, we were going to record too. I know there’s guitar feedback on it and mix issues, but people did enjoy it, and I am happy to say that Live at the Galaxy has been licensed for a release on vinyl. But to be honest, I kind of wish we had a little more preparation for that particular show. Like, it would have been nice if we had a photographer of our own grabbing shots of that performance, but we didn’t. I would have loved to have not been opening for another band so that we would have had a little more control over soundcheck. So, quite honestly, I’m happy we did it, but we really didn’t do it the way it should be done, and not the way I’d do it now. But for back then, it was what it was, and it represents archival audio, and it’s cool to hear us live.

Sound and circumstances aside, it was released the way it was, and now it’s going to come out on vinyl. I think it’s important to get it out there so that people can hear what we sounded like live, and that we really could execute those songs each night the way we did. You know, no matter how amazing the venue was, or what a toilet it was, we always played well. We had a guy like John out front, we had an amazing rhythm section, and I’ve been there and back playing both huge stages, and shit holes around the world. [Laughs]. I know how to handle a concert stage, I’ve been everywhere, and John’s the same, so I think we really were very effective, and always solid no matter where we played.

Andrew:
What led to the move to Spitfire Records, as well as the shift to Bob Marlette as producer for The Blue Room?

Bruce:
Well, Spitfire just wound up buying Mayhem, so that’s how we ended up there. And more or less, with Bob Marlette, it was just trying somebody new. I don’t remember who recommended him, but I knew he was talented, and that he could do similar things to Curt but with a little bit better credits under his belt. Now that wasn’t the reason per see, but I was pleased with the result. I mean, he wasn’t like my personal friend like Curt was at the time, but I think Bob put together a solid record for us in The Blue Room. I really never did like the artwork for the cover though, but as we know, the rerelease has different artwork anyway.

Andrew:
In the wake of the first record, and the club tour, what was Union’s collective mindset going into The Blue Room sessions?

Bruce:
Well, you know, I think it was basically, “Let’s do it again, and maybe people will notice.” I mean, we knew that we were always going to be trying to climb a mountain. That said, we did love the music that we were creating, and we got along. Of course, at times, because things really were hard, we would argue and things would become a little more complicated. But that’s because, well, let’s look at it like this: if a flight gets canceled, how nice are all the passengers on the plane after they all have to change their plans, and make different arrangements? Everybody’s grumpy and in a shitty mood, right? I think that maybe that’s a good analogy for the struggling tour, and what we had gone through. But we pulled it together to do a great record, and I’m very proud of The Blue Room too.

Andrew:
One of my favorite tracks on The Blue Room is “Shine.” I’ve always felt that you’re an exemplary acoustic player and that prowess features heavily on that track. How did that one come together?

Bruce:
Again, a great title idea from John. As I recall, John worked on that with Bob Marlette and decided to add a lot of different instruments. We knew Bob had experience with trying and experimenting with a million things. You know, “Shine” really was incredible to me audio-wise, and it’s very interesting, and I gotta admit that it came out great. Looking back, I am very proud of that song, and while I can’t remember all the elements that went into it, I do remember we added some strings to it, which was cool. Now, they weren’t actually real strings, but Bob had a great sample for them, and it just sounds crazy. I love what Jamie was playing on that one too, he really laid down a great bassline. It’s also a very uplifting song, which is not typical for like a heavy rock band, but really, it’s just another example of the fact that there are some great moments on that record, and really, on both albums. I thought we had such a good variance of material, and we certainly made music that we were proud of, and hopefully, people will keep enjoying it, and discovering it. I’m gonna have to crank up that song later. [Laughs].
Union Thumbn22
Union Thumbn21
All images courtesy of Bruce Kulick/Image credits: Daniella Clarke

Andrew:
The Blue Room was leaked through Napster just weeks before its official release. How big of an ill effect did that have on its fortunes?

Bruce:
I’m not sure if that had such a big effect because back then it was still about record sales, and the sales were low and getting lower. With so many different new bands and everything, we just didn’t have those touring opportunities I mentioned earlier that made sense, and that would have helped us. It just wasn’t sustainable. I’m telling you, and I’m not trying to be pessimistic, and I didn’t feel like we lost, but I just felt like there wasn’t a market for us. There weren’t enough KISS fans to support it. I mean, look at how poorly Carnival of Souls did. So, I knew I’d just have to move on, and that’s what I did.

Andrew:
Walk me through the decision to put Union to rest in the wake of those hardships.

Bruce:
Well, it just got to a point where we almost only could survive by selling some merchandise, and at a paltry profit to boot. I just felt like the market was not there for us. I knew we did good work, and we backed that up on tour, and we’d have offers from Europe to go play, but it would be barely enough to get over there and do it, let alone make any actual money. I just couldn’t justify continuing and killing myself, and I realized that it was time to just take a step back, and put Union on pause. And once I did that, sure enough, other opportunities started to come for everybody.

Andrew:
In the ensuing years, Union’s cult following has only grown stronger. With that in mind, what sparked the initial conversations to reissue the back catalog on vinyl?

Bruce:
Well, as you know, we have supporters and some of them are in the industry, and finally, one of them actually said, “Wait a minute, vinyl is popular again, these Union records have got to come out. I know who to call. I think I can put this together.” And so a friend of the band, who’s in the industry, is this guy named Pete Merluzzi, he went for it, and he had our full support. Because none of us were going to go lay out the money it would take to secure it, ship it, and make it a reality. So, Pete, he wound up partnering with Deko Entertainment who licensed the records, and who certainly could help to create this opportunity to get the music to the people. Well, they made it happen, and it sold out very quickly, and I think they saw that it was successful enough, and all of a sudden, they contacted the people that own rights to Live at the Galaxy, and now that will be coming out early next year.

So, again, it took a supportive business and some friends of ours who knew how to get that going. And I do want everyone to know, technically, it’s not the band that put it out per see. I do a lot of things on my own, like, if you want to buy my solo records, you’re buying it from my webstore, but the Union records were not available through my personal webstore, or John’s. But that’s only because it was properly licensed from the label that owns it, they have our support, and we even did some signed albums and things like that. I thought it was a good deal all around for everybody to experience the music, and I know that on a business level, nobody got hurt. So, everybody wins, and I’m very happy about it.

Andrew:
Given the struggles Union faced in its heyday, how gratifying and also surprising was it that after all these years, the cult following appears more muscular than ever?

Bruce:
I have to be honest, over the years, so many people used to ask me about reissues, so I wasn’t surprised when they sold out the way they did. It’s important to remember though that with these reissues, they weren’t talking about huge numbers, even though I’m hearing that they may try to make more because they sold out so quickly. I’m not gonna lie though, it does feel good. And of course, the question lingers: will we ever do anything again? And I’m never going to say never, but I don’t know what that looks like, or when that would be yet.

Andrew:
When you look back on Union, Bruce, how do you quantify its meaning and legacy to you personally?

Bruce:
I always like to think of the positives, which is we made music that I’m still very proud of. I try not to think about the disappointment of not connecting to enough people, or more people checking it out. It was just the timing of it, you know? I really do believe that we could have been much more successful, but I have to accept the fact that at least we’re leaving a legacy of some solid music behind, and people can always discover that music. I learned a lot about what it is to build a group from the ground up, and it’s not easy. You’ve got some guys who start one band, and then they’d go off and start another, but before Union, I had joined bands, but I never created bands. So, Union, that was my first, official situation, where I was like, “I’m starting a band.” So, for me, it was a good experience to learn from, but most importantly, the music’s great, and that’s something that will never go away.
Union Thumbn23
All images courtesy of Bruce Kulick/Image credit: Daniella Clarke

– Andrew Daly (@vwmusicrocks) is the Editor-in-Chief for www.vwmusicrocks.com and may be reached at andrew@vinylwriter.com
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MessageSujet: Re: Union   Union Icon_minitimeLun 22 Aoû - 12:06

22.08.2022 10:03:03
https://sleazeroxx.com/bruce-kulick-felt-his-kiss-era-was-inconsequential-when-union-came-out/

Bruce Kulick felt his KISS era was inconsequential when Union came out

Posted on August 20, 2022 by Olivier
Union Kiss-p11
Photo by Christopher Lee Helton
Former KISS guitarist Bruce Kulick was recently interviewed by Andrew Daly for Vinyl Writer Music. Kulick spoke specifically about his time in Union with former Mötley Crüe frontman John Corabi. Union released two studio albums, Union (1998) and The Blue Room (2000), and the live record, Live At the Galaxy (1999).
Daly opined that Union fell into a gray area commercially to which Kulick replied:

“Yeah, I think that’s fair. I think we had some great things going for us meaning; okay, you’ve got two guys that are known for being in some other big bands, but both of those bands moved on in a very big way. Mötley Crüe finally refound themselves with Vince Neil and they started to rebuild that, and KISS certainly went on to do something incredibly huge by being back in makeup. And when that happened, it just left my era in complete disarray, and in some ways, it made my whole era inconsequential. Of course, time has been very kind to my era of KISS and now my years are much more revered and respected, but at the time, when Union was coming out, it didn’t mean it a whole lot. And again, we were just lumped into that category of the old guard in an era when the new guard was in, and so we just didn’t get a break. If we had gotten a tour with one of those bulletproof bands who no matter what the flavor of music is, you know, let’s say an Alice Cooper tour or something, we would have maybe had some exposure. But we couldn’t gain traction, and we didn’t get offered any significant tours like that. And that made for a very hard road to travel, and eventually, of course, made it impossible to continue.”

In terms of his interplay with Corabi as a guitarist compared to with Paul Stanley in KISS, Kulick indicated: “Well, in some ways, John is more similar to Paul, in the sense that, as you probably are aware, Paul can play some leads, but it’s just he’s not super fluid on lead guitar. And Paul knows that but there are songs from the KISS catalog that he chose to play the lead guitar on, not so much in my era, but certainly in the makeup days. Now, John could probably pull off a solo, and he’s been doing some soloing on his more recent solo material, but he isn’t as fluid as me. So, I always respected John, especially as a strong rhythm player, who could come up with parts and write great riffs, but as a lead player, he just wasn’t as fluid. That doesn’t make him a bad player by any means, but he’s not going to be featured as a lead guitar player in the band. I mean, take The Beatles for instance; John Lennon played very uniquely, and he sometimes was the lead guitarist, so that’s sort of how I’d view it. With that being said, it didn’t come up for us in Union for me to be like, “Okay, John. Now you take the lead, go ahead.”“

You can read the rest of the interview with Bruce Kulick at Vinyl Writer Music.
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MessageSujet: Re: Union   Union Icon_minitimeLun 22 Aoû - 12:15

22.08.2022 10:12:41
https://ultimateclassicrock.com/kiss-fans-bruce-kulick-union/
Union Attach41

Even Kiss Fans Couldn’t Save Bruce Kulick’s Union

Martin Kielty
Published: August 21, 2022

Former Kiss guitarist Bruce Kulick reflected that even support from the band’s fans couldn’t save Union, the group he formed with John Corabi in the late ‘90s.

The project took form after Kiss’ return to makeup with its original lineup meant there was no room for him, and after Corabi had been ejected from Motley Crue to allow VInce Neil to return. Despite two highly respected studio albums that have gained cult status, Union split in 1991 after concluding that changes in the record industry meant they were never going to find the backroom support they needed to succeed.

“I knew I had to go back to a very low-budget version of touring, and as hard as that was, I really did believe in the music and the band,” Kulick told Vinyl Writer Music in a recent interview. “I do remember that the fans were incredible. I mean, those people got it, and as much as they might have been excited about Kiss being back in makeup, they didn’t forget me. They loved our music, they’d show up, they’d help sell the merchandise, they’d be our runners, and they would just be so supportive.”

He added that he remained in touch with a number of those avid supporters, continuing: “[W]ithout them, I don’t think Union could have survived those primitive tours. … They really made a tough situation just a little less painful by being supportive and helping us out. … I’m very grateful for that.”

The guitarist argued that timing was against them in the aftermath of the grunge revolution – although it could have been very different. “If we had gotten a tour with one of those bulletproof bands who no matter what the flavor of music is, you know – let’s say an Alice Cooper tour or something – we would have maybe had some exposure. But we couldn’t gain traction, and we didn’t get offered any significant tours like that. And that made for a very hard road to travel, and eventually, of course, made it impossible to continue.”

With recent reissues having proved successful and their Live at the Galaxy record on course to reappear, Kulick said there were a lot of positives to look back on. “[A]t least we’re leaving a legacy of some solid music behind, and people can always discover that music,” he argued. “I learned a lot about what it is to build a group from the ground up, and it’s not easy. … [B]efore Union, I had joined bands, but I never created bands. … [I]t was a good experience to learn from, but most importantly, the music’s great, and that’s something that will never go away.”

Read More: Even Kiss Fans Couldn’t Save Bruce Kulick’s Union | https://ultimateclassicrock.com/kiss-fans-bruce-kulick-union/?utm_source=tsmclip&utm_medium=referral
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MessageSujet: Re: Union   Union Icon_minitimeMer 12 Oct - 9:39

12.10.2022 07:33:53
https://bravewords.com/news/union-feat-bruce-kulick-john-corabi-1999-album-live-in-the-galaxy-to-receive-vinyl-reissue

UNION Feat. BRUCE KULICK, JOHN CORABI – 1999 Album Live In The Galaxy To Receive Vinyl Reissue

October 11, 2022, 9 hours ago
Union 6345d910
Originally released in 1999, Live In The Galaxy was recorded during Union’s first tour in support of its self-titled debut album. Union featured the pairing of guitarist Bruce Kulick and singer/guitarist John Corabi. Kulick had spent 12 years as the lead guitarist in KISS during their non-make up era and was featured on several multi-platinum albums, including the powerhouse band Revenge. Corabi fronted the Scream, and more recently, Mötley Crüe on their now cult following, eponymous 1994 release.  They teamed up with drummer Brent Fitz (Slash featuring Myles Kennedy & the Conspirators, Alice Cooper, Vince Neil, Theory of a Deadman) and bassist Jamie Hunting (Roger Daltrey, David Lee Roth, Vince Neil) to record two studio albums before disbanding.

On the heels of selling out Union and The Blue Room in 24 hours, Deko and Blackbird Entertainment are at it again. Live In The Galaxy will be available for the first time as a 180 gram vinyl double album that comes with a bonus 7” vinyl. The double album totals 15 songs, with renditions of “I Walk Alone” from Kulick’s time with KISS and “Power To The Music” from Corabi’s time with Mötley Crüe. It comes in three color variations: Black/Milky White (limited to 500 copies pressed), Purple/Yellow (limited to 250 copies pressed), and Silver/Violet (limited to 250 copies pressed).  The bonus 7” vinyl includes the additional live tracks “Let It Flow” and “Empty Soul.” The album is set to go on pre-sale October 13 at noon (EST). Product is expected to ship early February.

The options are as follows:

The Premier Edition – comes with a SIGNED 10”x10” band photo; limited edition Union T-Shirt; 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.

The Royal Edition – comes with a SIGNED 10”x10” band photo; 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.

The Standard Edition – comes with 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.

Preorder begin September 13 at dekoentertainment.com/union.

Union band members are enthusiastically promoting Live In The Galaxy.

Union Unionl10

Tracklisting:

Side A
“Old Man Wise”
“Around Again”
“Heavy D…”

Side B
“Jungle”
“Love (I Don’t Need It Anymore)”
“Man In The Moon”

Side C
“I Walk Alone”
“Surrender”
“Pain Behind Your Eyes”

Side D
“Power To The Music”
“Tangerine”
“October Morning Wind”
“You’ve Got To Hide Your Love Away”

John Corabi had this to say about the live release, “Union’s Live In The Galaxy exemplifies Union in a nutshell. It’s no frills, no backing tracks, no overdubs, no sound check!  Just straight ahead kick-ass rock and roll from a veteran rock band. Much like their ‘70’s classic rock heroes.  All recorded at one show at the Galaxy Theater in Anaheim.”

Bruce Kulick continues, “Supporters of Union, always loved our live shows. We played intensely, and our raw powerful performances made a lasting impression on our fans. This recording proves it!”

From Jamie Hunting, “The band once did 13 cities in 13 nights...runs like that allowed the band to get some flow to the show which can be heard in this concert.”

Brent Fitz doesn’t hold back, “Live In The Galaxy was recorded at the perfect moment in our tour, we had been working hard on the road for a year, the band was tight, and we were a strong live act.  It’s an amazing snapshot of the band at full power on that first tour!”

Deko Entertainment president, Bruce Pucciarello, comments on their follow up release with Blackbird Entertainment, “Sometimes a live performance brings emotional revelation, allowing us to share feelings with the artist in a way that drives music to higher highs.  This amazing Union performance is the definition of exactly that.”
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MessageSujet: Re: Union   Union Icon_minitimeLun 24 Oct - 10:33

24.10.2022 07:35:15
https://bravewords.com/news/union-s-1999-album-live-in-the-galaxy-vinyl-reissue-available-guitarist-bruce-kulick-shares-video-message

UNION's 1999 Album Live In The Galaxy Vinyl Reissue Available; Guitarist BRUCE KULICK Shares Video Message

Union 6345d911
October 23, 2022, 22 hours ago
Union's album Live In The Galaxy, released in 1999, is finally available on vinyl, and as special coloured 180 gram vinyl bundles.
Originally released in 1999, Live In The Galaxy was recorded during Union’s first tour in support of its self-titled debut album. Union featured the pairing of guitarist Bruce Kulick and singer/guitarist John Corabi. Kulick had spent 12 years as the lead guitarist in KISS during their non-make up era and was featured on several multi-platinum albums, including the powerhouse band Revenge. Corabi fronted the Scream, and more recently, Mötley Crüe on their now cult following, eponymous 1994 release.  They teamed up with drummer Brent Fitz (Slash featuring Myles Kennedy & the Conspirators, Alice Cooper, Vince Neil, Theory of a Deadman) and bassist Jamie Hunting (Roger Daltrey, David Lee Roth, Vince Neil) to record two studio albums before disbanding.

On the heels of selling out Union and The Blue Room in 24 hours, Deko and Blackbird Entertainment are at it again. Live In The Galaxy is available for the first time as a 180 gram vinyl double album that comes with a bonus 7” vinyl. The double album totals 15 songs, with renditions of “I Walk Alone” from Kulick’s time with KISS and “Power To The Music” from Corabi’s time with Mötley Crüe. It comes in three color variations: Black/Milky White (limited to 500 copies pressed), Purple/Yellow (limited to 250 copies pressed), and Silver/Violet (limited to 250 copies pressed).  The bonus 7” vinyl includes the additional live tracks “Let It Flow” and “Empty Soul.” The album is set to go on pre-sale October 13 at noon (EST). Product is expected to ship early February.

The options are as follows:

The Premier Edition – comes with a SIGNED 10”x10” band photo; limited edition Union T-Shirt; 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.

The Royal Edition – comes with a SIGNED 10”x10” band photo; 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.

The Standard Edition – comes with 180 gram vinyl double album, completely remastered, featuring all new artwork for a beautiful gatefold sleeve; and a bonus 7” including 2-extra live tracks.


Union band members are enthusiastically promoting Live In The Galaxy.

John Corabi had this to say about the live release, “Union’s Live In The Galaxy exemplifies Union in a nutshell. It’s no frills, no backing tracks, no overdubs, no sound check!  Just straight ahead kick-ass rock and roll from a veteran rock band. Much like their ‘70’s classic rock heroes.  All recorded at one show at the Galaxy Theater in Anaheim.”

Bruce Kulick continues, “Supporters of Union, always loved our live shows. We played intensely, and our raw powerful performances made a lasting impression on our fans. This recording proves it!”

From Jamie Hunting, “The band once did 13 cities in 13 nights...runs like that allowed the band to get some flow to the show which can be heard in this concert.”

Brent Fitz doesn’t hold back, “Live In The Galaxy was recorded at the perfect moment in our tour, we had been working hard on the road for a year, the band was tight, and we were a strong live act.  It’s an amazing snapshot of the band at full power on that first tour!”

Deko Entertainment president, Bruce Pucciarello, comments on their follow up release with Blackbird Entertainment, “Sometimes a live performance brings emotional revelation, allowing us to share feelings with the artist in a way that drives music to higher highs.  This amazing Union performance is the definition of exactly that.”
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MessageSujet: Re: Union   Union Icon_minitimeLun 24 Oct - 10:36

24.10.2022 08:34:15

La réédition en vinyle de l'album Live In The Galaxy de 1999 d'UNION est disponible ; Le guitariste BRUCE KULICK partage un message vidéo


L'album d'Union Live In The Galaxy, sorti en 1999, est enfin disponible en vinyle, et sous forme de packs de vinyle colorés spéciaux de 180 grammes.
Initialement sorti en 1999, Live In The Galaxy a été enregistré lors de la première tournée d'Union à l'appui de son premier album éponyme. Union a présenté le couple du guitariste Bruce Kulick et du chanteur / guitariste John Corabi. Kulick avait passé 12 ans en tant que guitariste principal de KISS pendant leur période sans maquillage et figurait sur plusieurs albums multi-platine, dont le groupe puissant Revenge. Corabi a dirigé le Scream, et plus récemment, Mötley Crüe sur leur désormais culte après la sortie éponyme de 1994. Ils se sont associés au batteur Brent Fitz (Slash avec Myles Kennedy & the Conspirators, Alice Cooper, Vince Neil, Theory of a Deadman) et au bassiste Jamie Hunting (Roger Daltrey, David Lee Roth, Vince Neil) pour enregistrer deux albums studio avant de se séparer.

Après avoir vendu Union et The Blue Room en 24 heures, Deko et Blackbird Entertainment recommencent. Live In The Galaxy est disponible pour la première fois sous la forme d'un double album vinyle de 180 grammes accompagné d'un vinyle 7 pouces bonus. Le double album totalise 15 chansons, avec des interprétations de "I Walk Alone" de l'époque de Kulick avec KISS et "Power To The Music" de l'époque de Corabi avec Mötley Crüe. Il se décline en trois variations de couleur : noir/blanc laiteux (limité à 500 exemplaires pressés), violet/jaune (limité à 250 exemplaires pressés) et argent/violet (limité à 250 exemplaires pressés). Le vinyle 7" bonus comprend les morceaux live supplémentaires "Let It Flow" et "Empty Soul". L'album devrait être mis en prévente le 13 octobre à midi (HNE). Le produit devrait être expédié début février.

Les options sont les suivantes :

L'édition Premier - est livrée avec une photo de bande SIGNÉE 10 "x10" ; T-shirt Union en édition limitée; Double album vinyle de 180 grammes, entièrement remasterisé, avec toutes les nouvelles illustrations pour une belle pochette gatefold ; et un 7" bonus comprenant 2 titres live supplémentaires.

L'édition royale - est livrée avec une photo de bande SIGNÉE 10 "x10" ; Double album vinyle de 180 grammes, entièrement remasterisé, avec toutes les nouvelles illustrations pour une belle pochette gatefold ; et un 7" bonus comprenant 2 titres live supplémentaires.

L'édition standard - est livrée avec un double album vinyle de 180 grammes, entièrement remasterisé, avec toutes les nouvelles illustrations pour une belle pochette gatefold ; et un 7" bonus comprenant 2 titres live supplémentaires.

Les membres du groupe Union font la promotion avec enthousiasme de Live In The Galaxy.

John Corabi avait ceci à dire à propos de la sortie en direct: "Union's Live In The Galaxy illustre Union en un mot. C'est sans fioritures, pas de pistes d'accompagnement, pas d'overdubs, pas de vérification du son ! Juste devant le rock and roll détonant d'un groupe de rock vétéran. Tout comme leurs héros du rock classique des années 70. Le tout enregistré lors d'un concert au Galaxy Theatre d'Anaheim.

Bruce Kulick poursuit : « Les supporters de l'Union ont toujours adoré nos émissions en direct. Nous avons joué intensément et nos performances brutes et puissantes ont laissé une impression durable sur nos fans. Cet enregistrement le prouve !

De Jamie Hunting, "Le groupe a fait une fois 13 villes en 13 nuits... des courses comme ça ont permis au groupe d'obtenir un certain rythme pour le spectacle qui peut être entendu dans ce concert."

Brent Fitz ne se retient pas, "Live In The Galaxy a été enregistré au moment parfait de notre tournée, nous avions travaillé dur sur la route pendant un an, le groupe était serré et nous étions un groupe live fort. C'est un instantané incroyable du groupe à pleine puissance lors de cette première tournée !

Le président de Deko Entertainment, Bruce Pucciarello, commente leur sortie de suivi avec Blackbird Entertainment : « Parfois, une performance en direct apporte une révélation émotionnelle, nous permettant de partager des sentiments avec l'artiste d'une manière qui pousse la musique vers des sommets plus élevés. Cette incroyable performance d'Union en est la définition exacte.
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MessageSujet: Re: Union   Union Icon_minitimeSam 4 Mar - 15:17

04.03.2023 14:59:25
https://ultimateclassicrock.com/union-debut-album-interview/
Union 20230310

25 Years Ago: Why Bruce Kulick and John Corabi’s Union Couldn’t Last

Bryan Rolli
Published: February 24, 2023
There are few riskier propositions in rock 'n' roll than a supergroup. Success stories like Cream or Crosby, Stills, Nash & Young are the exceptions among countless failed attempts, from Brides of Destruction to Rock Star Supernova.

These ill-fated pairings come and go with hardly a trace, collapsing under the weight of massive egos, creative differences or, simply, bad songs. Even when spirits are high and the music is inspired, some supergroups fail because they play a style of music wholly different than their members' former bands, and programmers either don't know what to make of them – or don't care.

Union, the short-lived project featuring ex-Kiss guitarist Bruce Kulick and ex-Motley Crue frontman John Corabi, learned the last lesson the hard way after releasing their self-titled debut album on Feb. 24, 1998. Despite positive reviews and enthusiastic live shows, the band's hybrid of gnarled post-grunge riffing and sunny, Beatles-esque melodies failed to connect with a larger audience. The follies and financial limitations of an independent label also caused many headaches along the way.

Kulick and Corabi were already used to headaches. Kulick had recently ended a 12-year stint with Kiss as the original lineup reapplied their face paint and mounted a massive reunion tour. Meanwhile, Corabi was summarily ousted from Motley Crue after their grunge-inflected, self-titled 1994 album underperformed and the band welcomed Vince Neil back into the fold.

"Oddly enough, Nikki [Sixx] called Bruce and said, 'Hey dude, we're getting Vince back. But I think if you and Corabi got together, it would be really cool because you guys are into the same type of music – [Led] Zeppelin, Cream, Humble Pie, Grand Funk Railroad, all that stuff. Same wheelhouse,'" Corabi tells UCR. "And then Nikki called me and said, 'Hey, I talked to Bruce. I think you guys should write together.'"

Corabi and Kulick found themselves commiserating over the loss of their steady paychecks and their turbulent love lives. (Kulick divorced his wife Christina and Corabi split with a serious girlfriend in 1996.) "We had that bond of like, 'Oh, woe is me. Let's bond together here musically,'" Kulick tells UCR. "We both feel like we got left behind by our personal lives and our professional careers. So let's make some music."

The duo soon recruited drummer Brent Fitz, a Canadian transplant who had moved to Los Angeles to pursue music and played alongside Kulick with former Madam X singer Lenita Erickson. They rounded out the lineup with veteran bassist Jamie Hunting, who had previously worked with Eddie Money and David Lee Roth.

With their lineup in place, the newly christened Union went to famed L.A. studio Rumbo Recorders, where Guns N' Roses cut Appetite for Destruction. Producer Curt Cuomo helmed a debut album featuring songs like "Old Man Wise" and "Love (I Don't Need it Anymore)" that spotlighted Corabi's bluesy rasp and Kulick's agile fretwork. "Let it Flow" and "Empty Soul" were full of glimmering, psychedelic passages and Fitz and Hunting's nimble grooves. Corabi also proved his knack for tender melodies on the breezy, acoustic rocker "October Morning Wind" and the mournful ballad "Robin's Song."

Fans and critics received Union favorably, but Mayhem Records fumbled its distribution and promotion. "Their passion and hearts were in the right place," Kulick says, "but they definitely didn't have the money or finesse to do it well."

Issues began cropping up from the start. "There were some really funny mistakes," Kulick added. "The first CDs pressed, our first song from the record is 'Old Man Wise.' The first batch they printed, it doesn't even list the song. So whoever approved the artwork was way too high on something. Then, there's a poster that went along with it, and John was also in this very good band on Hollywood Records called the Scream. They spelled it 'Sceam' and left the 'r' out on the poster – and then they spelled Motley Crue completely wrong."

Union also felt trapped between two worlds on the touring circuit, ostracized by the post-grunge and nu-metal scene du jour and by their former '80s hard-rock peers.

"A lot of newer bands liked what we were doing, bands like Sevendust," Corabi says. "They would go, 'Oh man, you guys should come and open for us.' But then the promoters would hear it and they would go, 'Wait, those guys are like an '80s band.' So we couldn't go out with any newer artists."

Things didn't go any more smoothly when a tour with Poison was discussed. "Poison was going out every summer, doing a big summer extravaganza — and I don't know if it was Ratt or Cinderella, but it was gonna be like Poison, Cinderella, and they wanted us to be the first band on the bill," Corabi says. "But then the promoters heard us and they went, 'No, no, no, they're a new band.'"

Still, those early shows had their highlights — especially for Fitz, the youngster of the group who was thrilled to be rubbing elbows with some of his musical heroes.

"I think our third show, which was a Los Angeles home show playing at the Country Club in the Valley, Gene Simmons and Paul Stanley and Ace Frehley all came to our show to support and were extremely supportive and cool," Fitz tells UCR.

He felt like he'd finally arrived. "It felt so satisfying to me, saying, 'OK, I'm in a new band, and I get to play new music in front of all these people and with no expectation. And yet, some of the guys that I've really looked up to my entire life came to [see] me play with some other guys that I respect from these bands,'" Fitz added. "And that was a revelation to me. Like, 'OK, whatever I've chosen to be in L.A., this was the right move.'"

Union pulled big crowds overseas too, particularly in South America and Scandinavia, thanks to Kulick's tenure in Kiss. "We did the Sweden Rock Festival, and we were on the main stage, and there were 40,000 people there when we played," Corabi remembers. "It was great. But in America, we couldn't get arrested."

Despite the lack of institutional support, Union kept grinding for a few more years, releasing Live at the Galaxy in 1999 and then a sophomore studio effort, The Blue Room, in 2000. The second LP received less attention than its predecessor, and the band members soon began taking more lucrative gigs. Kulick joined Grand Funk Railroad and Corabi became Ratt's rhythm guitarist, while Fitz and Hunting ironically joined Vince Neil's solo band.

"Bruce had made great money with Kiss," Corabi reasons. "So he gets offered this Grand Funk thing, to work half the time and not nearly as hard as Union was working, to travel well and get paid really well to join Grand Funk. Of course, he's gonna take it. Of course, I'm gonna take the Ratt gig. You're going from touring in a van to touring in a tour bus. Of course, I'm gonna take it."

Union remains a footnote on Kulick and Corabi's resumes, but the gig has continued to pay dividends for Fitz. He played drums on Kulick's 2010 solo album BK3 and took part in a Hollywood release show that was featured on Gene Simmons Family Jewels. The next day, he got a call from Slash, who was assembling a live band to tour in support of his self-titled solo debut. Fellow Kulick collaborator Todd Kerns was tapped for bass; more than a decade later, both of them are still mainstays in the top-hatted guitarist's band.

"Each gig I've had seems to stoke itself and nurture itself and come back around," Fitz says. "So my association with Bruce back in '96 has really been an integral part of my career, meeting him and working with him. And here we are 25 years later, basically, still working together. The whole Union thing, it's been the most important thing to blossoming my career in the States."

Union has also enjoyed renewed interest in recent years, with a limited-run vinyl reissue of both their studio albums selling out almost instantly in 2022. Band members are quick to note that they never broke up, just moved on to other projects. Kulick and Corabi also cross paths for the occasional acoustic gig, so they haven't ruled out the prospect of a Union reunion.

"The only thing I say never about is I will never play onstage ever again with Motley Crue," Corabi says with a laugh. "I can pretty much guarantee that, but other than that, everything's wide open."

Kulick, meanwhile, remains proud of the joyful noise Union made, even if the project didn't get its due the first time around. "Quite honestly, besides all the trials and tribulations that we went through, and the fact that it wasn't a success, I always felt that the music really did meet my expectations," he says. "We were this fantastic band that just never got any good breaks."
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MessageSujet: Re: Union   Union Icon_minitimeSam 4 Mar - 15:28

04.03.2023 15:19:25

Il y a 25 ans : pourquoi l'union de Bruce Kulick et John Corabi n'a pas pu durer

Il y a peu de propositions plus risquées dans le rock 'n' roll qu'un supergroupe. Des histoires à succès comme Cream ou Crosby, Stills, Nash & Young sont les exceptions parmi d'innombrables tentatives infructueuses, de Brides of Destruction à Rock Star Supernova.

Ces couples malheureux vont et viennent sans laisser de trace, s'effondrant sous le poids d'égos massifs, de différences créatives ou, tout simplement, de mauvaises chansons. Même lorsque le moral est au beau fixe et que la musique est inspirée, certains supergroupes échouent parce qu'ils jouent un style de musique complètement différent de celui des anciens groupes de leurs membres, et les programmeurs ne savent pas quoi en penser - ou s'en fichent.

Union, le projet de courte durée mettant en vedette l'ancien guitariste de Kiss Bruce Kulick et l'ancien chanteur de Motley Crue John Corabi, a appris la dernière leçon à la dure après avoir sorti son premier album éponyme le 24 février 1998. Malgré des critiques positives et des critiques enthousiastes spectacles en direct, l'hybride du groupe de riffs noueux post-grunge et de mélodies ensoleillées à la Beatles n'a pas réussi à se connecter avec un public plus large. Les folies et les limites financières d'un label indépendant ont également causé de nombreux maux de tête en cours de route.

Kulick et Corabi étaient déjà habitués aux maux de tête. Kulick avait récemment mis fin à un passage de 12 ans avec Kiss alors que la formation originale réappliquait sa peinture faciale et organisait une tournée de retrouvailles massive. Pendant ce temps, Corabi a été sommairement évincé de Motley Crue après que leur album éponyme de 1994 aux influences grunge ait sous-performé et que le groupe ait accueilli Vince Neil dans le giron.

"Curieusement, Nikki [Sixx] a appelé Bruce et a dit : 'Hé mec, on récupère Vince. Mais je pense que si Corabi et toi vous réunissiez, ce serait vraiment cool parce que vous aimez le même genre de musique - [Led] Zeppelin, Cream, Humble Pie, Grand Funk Railroad, tout ça. Même timonerie », a déclaré Corabi à UCR. "Et puis Nikki m'a appelée et m'a dit : 'Hé, j'ai parlé à Bruce. Je pense que vous devriez écrire ensemble.'"

Corabi et Kulick se sont retrouvés à plaindre la perte de leurs chèques de paie réguliers et de leur vie amoureuse turbulente. (Kulick a divorcé de sa femme Christina et Corabi s'est séparé d'une petite amie sérieuse en 1996.) "Nous avions ce lien du genre" Oh, malheur à moi. Unissons-nous ici musicalement "", a déclaré Kulick à UCR. "Nous avons tous les deux l'impression d'avoir été laissés pour compte par nos vies personnelles et nos carrières professionnelles. Alors faisons de la musique."

Le duo a rapidement recruté le batteur Brent Fitz, une greffe canadienne qui avait déménagé à Los Angeles pour poursuivre la musique et a joué aux côtés de Kulick avec l'ancienne chanteuse de Madame X Lenita Erickson. Ils ont complété la formation avec le bassiste vétéran Jamie Hunting, qui avait auparavant travaillé avec Eddie Money et David Lee Roth.

Avec leur line-up en place, l'Union nouvellement baptisée est allée au célèbre studio Rumbo Recorders de L.A., où Guns N' Roses a coupé Appetite for Destruction. Le producteur Curt Cuomo a dirigé un premier album contenant des chansons comme "Old Man Wise" et "Love (I Don't Need it Anymore)" qui mettait en lumière la râpe bluesy de Corabi et le chantournage agile de Kulick. "Let it Flow" et "Empty Soul" étaient pleins de passages psychédéliques scintillants et des grooves agiles de Fitz et Hunting. Corabi a également prouvé son talent pour les mélodies tendres sur le rocker acoustique venteux "October Morning Wind" et la ballade lugubre "Robin's Song".

Les fans et les critiques ont accueilli favorablement Union, mais Mayhem Records a tâtonné sa distribution et sa promotion. "Leur passion et leur cœur étaient au bon endroit", dit Kulick, "mais ils n'avaient certainement pas l'argent ou la finesse pour bien le faire."

Les problèmes ont commencé à surgir dès le début. "Il y a eu des erreurs vraiment amusantes", a ajouté Kulick. "Les premiers CD pressés, notre première chanson du disque est" Old Man Wise ". Le premier lot qu'ils ont imprimé, il ne liste même pas la chanson. Donc, celui qui a approuvé l'artwork était bien trop haut sur quelque chose. Ensuite, il y a une affiche qui l'accompagnait, et John était également dans ce très bon groupe sur Hollywood Records appelé le Scream. Ils l'ont épelé 'Sceam' et ont laissé le 'r' sur l'affiche - et ensuite ils ont complètement épelé Motley Crue.

Union s'est également senti pris au piège entre deux mondes sur le circuit des tournées, ostracisé par la scène post-grunge et nu-metal du moment et par leurs anciens pairs du hard rock des années 80.

"Beaucoup de nouveaux groupes ont aimé ce que nous faisions, des groupes comme Sevendust," dit Corabi. "Ils diraient:" Oh mec, vous devriez venir nous ouvrir. Mais ensuite, les promoteurs l'entendaient et disaient: "Attendez, ces gars sont comme un groupe des années 80". Nous ne pouvions donc pas sortir avec de nouveaux artistes."

Les choses ne se sont pas déroulées plus facilement lorsqu'une tournée avec Poison a été évoquée. "Poison sortait tous les étés, faisait une grande extravagance estivale - et je ne sais pas si c'était Ratt ou Cendrillon, mais ça allait être comme Poison, Cendrillon, et ils voulaient que nous soyons le premier groupe à l'affiche, " dit Corabi. "Mais ensuite, les promoteurs nous ont entendus et ils ont dit:" Non, non, non, c'est un nouveau groupe. ""

Pourtant, ces premiers spectacles ont eu leurs points forts – en particulier pour Fitz, le jeune du groupe qui était ravi de côtoyer certains de ses héros musicaux.

"Je pense que notre troisième émission, qui était une émission à domicile de Los Angeles jouée au Country Club de la vallée, Gene Simmons et Paul Stanley et Ace Frehley sont tous venus à notre émission pour nous soutenir et ont été extrêmement favorables et cool", a déclaré Fitz à UCR.

Il avait l'impression d'être enfin arrivé. "C'était tellement satisfaisant pour moi de dire:" OK, je suis dans un nouveau groupe, et je peux jouer de la nouvelle musique devant tous ces gens et sans aucune attente. Et pourtant, certains des gars que j'ai vraiment admiré toute ma vie est venu [voir] moi jouer avec d'autres gars que je respecte de ces groupes ", a ajouté Fitz. "Et ça a été une révélation pour moi. Comme, 'OK, peu importe ce que j'ai choisi d'être à L.A., c'était la bonne décision.'"

Union a également attiré de grandes foules à l'étranger, en particulier en Amérique du Sud et en Scandinavie, grâce au mandat de Kulick à Kiss. "Nous avons fait le Sweden Rock Festival, et nous étions sur la scène principale, et il y avait 40 000 personnes là-bas quand nous avons joué", se souvient Corabi. "C'était génial. Mais en Amérique, nous ne pouvions pas nous faire arrêter."

Malgré le manque de soutien institutionnel, Union a continué à travailler pendant quelques années de plus, sortant Live at the Galaxy en 1999, puis un deuxième effort en studio, The Blue Room, en 2000. Le deuxième LP a reçu moins d'attention que son prédécesseur, et le groupe les membres ont rapidement commencé à prendre des concerts plus lucratifs. Kulick a rejoint Grand Funk Railroad et Corabi est devenu le guitariste rythmique de Ratt, tandis que Fitz et Hunting ont ironiquement rejoint le groupe solo de Vince Neil.

"Bruce avait gagné beaucoup d'argent avec Kiss", raisonne Corabi. "Alors on lui propose ce truc de Grand Funk, travailler la moitié du temps et pas aussi dur que Union travaillait, voyager bien et être très bien payé pour rejoindre Grand Funk. Bien sûr, il va le prendre. Bien sûr, je Je vais prendre le concert de Ratt. Vous passez d'une tournée dans une camionnette à une tournée dans un bus de tournée. Bien sûr, je vais le prendre.

Union reste une note de bas de page sur les CV de Kulick et Corabi, mais le concert a continué de rapporter des dividendes à Fitz. Il a joué de la batterie sur l'album solo BK3 de Kulick en 2010 et a participé à une émission de sortie à Hollywood qui a été présentée sur Gene Simmons Family Jewels. Le lendemain, il a reçu un appel de Slash, qui assemblait un groupe live pour une tournée à l'appui de ses débuts en solo éponyme. Le collaborateur de Kulick, Todd Kerns, a été sélectionné pour la basse; plus d'une décennie plus tard, les deux sont toujours les piliers du groupe du guitariste au chapeau haut de forme.

"Chaque concert que j'ai eu semble s'alimenter et se nourrir et revenir", dit Fitz. "Donc, mon association avec Bruce en 1996 a vraiment fait partie intégrante de ma carrière, le rencontrer et travailler avec lui. Et nous voici 25 ans plus tard, en gros, toujours à travailler ensemble. Tout le truc de l'Union, ça a été le plus chose importante pour faire prospérer ma carrière aux États-Unis."

Union a également connu un regain d'intérêt ces dernières années, avec une réédition en vinyle à tirage limité de leurs deux albums studio qui se vend presque instantanément en 2022. Les membres du groupe notent rapidement qu'ils ne se sont jamais séparés, ils sont juste passés à d'autres projets. Kulick et Corabi se croisent également pour un concert acoustique occasionnel, ils n'ont donc pas exclu la perspective d'une réunion de l'Union.

"La seule chose dont je ne dis jamais, c'est que je ne jouerai plus jamais sur scène avec Motley Crue", dit Corabi en riant. "Je peux à peu près le garantir, mais à part ça, tout est grand ouvert."

Kulick, quant à lui, reste fier du bruit joyeux que Union a fait, même si le projet n'a pas eu son dû la première fois. "Très honnêtement, outre toutes les épreuves et tribulations que nous avons traversées et le fait que ce n'était pas un succès, j'ai toujours senti que la musique répondait vraiment à mes attentes", dit-il. "Nous étions ce groupe fantastique qui n'a jamais eu de bonnes pauses."
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