Brent Fitz – Slash, ex- Union, Alice Cooper, Vince Neil etc.

Spread the metal:


Brent Fitz is a Canadian multi-instrumentalist, and currently the drummer of ex-Guns’ N Roses guitarist Slash’s solo band. Previously, he has played with Alice Cooper, Vince Neil, and Econoline Crush, among others. At the end of the 1990s, he had a band called Union with Bruce Kulick (ex -KISS) and John Corabi (ex -Motley Crue). But nowadays, Fitz plays with Slash’s solo band, where he joined in 2010. The band’s current line-up has recorded two studio albums. The latest WORLD ON FIRE was released in 2014. I met a good-humored Fitz last June at Sweden Rock Festival. We discussed Fitz’s own Guns’n Roses/Slash’s history, about how he ended up in the band, and what the future might bring. We also talked about his time in the Union and what it takes to end up in a position where he currently is. Read on!



Let’s start with the most current thing, so what’s going on with the Slash?

Brent Fitz: We have been in full tour mode since last year, so what’s cool right now is where we’re at this point in the tour. The tour started in June last year with Aerosmith, so it’s now been a whole year that we’ve been on the road. But the new record hadn’t come out until September, so we sort of had a ‘tour teaser’ opening for Aerosmith. We couldn’t play a lot of new stuff off the new record back then, so once it came out, we started really working on adding the new songs into the set. What’s cool about this band is that I’ve never been in another band where all the new written and recorded songs get a chance to be heard in the live set. So, since we released the record in September? and we’ve played the whole album live. I think maybe one song not yet, but there are 17 songs on the record. So 16 new songs have cycled through the set. It’s pretty fucking cool. And Aerosmith, they, of course, play so many great hit songs in their set, but as far as playing any new material, there really wasn’t any, though they had a record out a couple of years ago. But that’s their choice not to play new songs. At the same time, Slash’s whole intent is to get new music into the set and keep reinventing the set. And tracks like “Anastasia” – from the last record – are now staples in our set, just like “Sweet Child O’ Mine” or “Paradise City.” What’s cool is that brand new songs – that are only a couple of years old are new classics.

Yeah, I agree. It’s great that the band believes it’s new stuff. You mentioned Aerosmith, and they’re like most of the long-term bands these days – they don’t play new stuff. AC/DC just put out a new album, and they’re playing only two new tracks, which is sad if you ask me?

Brent Fitz: Two? Okay. But the legacy of AC/DC…with so many hit records, and Aerosmith with so many hit records – yes, Slash has some very, very big hits too with Guns N’ Roses – but there is only a handful of Guns N’ Roses records. Whereas Aerosmith has 20 records, and so does AC/DC. So not comparing to those bands. But just know that I really love the fact that is playing with this band, we look forward to knowing when we write songs in the studio, that we don’t try to think about ‘hits’ when all the songs are being put onto the record, while it’s being recorded. I don’t think anybody in this band is! We just write a bunch of songs that we like. Slash comes up with SO many great riffs, Myles comes up with the melodies and great parts that fit in – and the rest of us just sort of fill it in and compliment. But we also sort of know that at some point, as we’re recording, that we are also going to play these songs too, guaranteed, live in the set. I don’t think we knew that was going to be the case, though, when we were first making APOCALYPTIC LOVE…because that was our first record as a band. But we’re fully aware, knowing that now with WORLD ON FIRE. And we’re already working on brand new songs. We have more than a few from World on Fire in the live set already, but as far as new songs in the ‘future’ that will one day make their way into the set, It’s like we’re already thinking, “okay, those songs are going to be recorded eventually and part of the set. Then what are we going to do? Because we can’t take “Anastasia” off the set, and we might not be able to take “Back from Cali” out or “World on Fire,” which is cool, but we now have some new classic songs, I guess, maybe two thirds in the way through the tour now. It’s now been a year, but we are still going till the end of 2016. So, we’ve not had a break since January, other than literary two weeks in March – at the end of March, maybe April; we segued from South America and went straight back to the States. So we’ve been going hard since January, and we played the States last month, and there was no break in between, we came directly to Europe. So this is right into the festivals. And now we’re even that much older, wiser, healthier, and smarter as a band. And it’s a strong musical personality and a comradely thing that’s going on. We fucking like each other! There is not one guy in the band that sticks out and has any sort of; there are no ‘personal’ vices that get in the way. Maybe that’s by design; after all the years, we’ve all been in different bands. Slash certainly has had the most highly publicized situations in his bands, where it’s been the personalities that have affected a lot of the creativity. And Slash just wants to play. He’s a player, and he’s a band guy. He wants to tour, and he wants to be in the band with a bunch of other dudes that just fucking wanna rock!!

Before joining Slash’s band, you’ve worked with many bands: Union, Alice Cooper, Vince Neil, and many more. Is playing with Slash different from those other bands?

Brent Fitz: Yeah. It feels like the band that I always tried to want to have and just didn’t quit. I can be honest in saying that today it has come full circle because it’s been 15 years since Union played here (Swedenrock), back in 2000. So, it’s just very sweet that I’m back here playing with Slash now. But I feel like Union was also that band where we had the same guys that got along great. We also put out new music and played all-new songs in our set – and yes, we played some classics from Kiss and Motley Crue. It was very similar; it just didn’t quite have the chance to – I think, get to the next level.

The only thing different about then and where I am personally today is that Union was “a guy from Kiss”…who we all knew; “a guy from Motley Crue” – who everybody knew; and Jamie Hunting, who had played with a bunch of guys. Unfortunately, myself, coming from Canada, the things I had done up there didn’t necessarily mean a lot to people on the world’s scale. So John (Corabi) was always joking, he’d say – “and some guy from Canada.” That was my title. “Hey…who is this guy?” Now later into my career, having played with all these bands, and it feels kind of good almost like the spin is, I hate to say it, and I don’t like to talk about myself that way – but now after Union, I think I’ve done a good job of keeping the Union spirit alive!! We all have. The band has a great spirit. We are all still around, and we all get along. But as far as keeping the “spirit” alive with Union, I’m definitely not just some guy from Canada anymore “Laughs.”

I totally agree, and I can only imagine how good it does feel “Laughs.”

Brent Fitz: It is good. But that band was the same; it was doing what we love to do: we always play music for the love of music. It’s just a pleasure to do so, and that was a pleasure band, and I just wasn’t able to go to have some longevity with it…It’s a lot of factors coming through. One cool thing about THIS band is that Slash’s momentum is very strong. He makes great choices and maybe not on purpose, but he makes great choices in trying things that are fucking cool. Slash doesn’t sell out as far as putting a band together. And because I’m in the band, I really can’t have an opinion on our band other than I’m just happy that people like the music. And what we are doing as a band, I guess I can say that Slash must have picked the right guys in this band now because it’s working. He picked me, and he wanted to be in a band with myself, Todd, Myles – and now Frank is part of it too. So it’s working. But he’s got such a great history, and just all his accolades in the music business are just classics.

Frank Sidoris, Brent, Myles Kennedy, Slash, Todd Kerns
Frank Sidoris, Brent, Myles Kennedy, Slash, Todd Kerns


This is the question you’ve asked several times but let’s repeat it once again. How did you end up in this band?

Brent Fitz: Velvet Revolver basically was on hiatus because they weren’t going to work with Scott (Weiland), or whatever the deal was. And Slash is always just finding ways to keep himself busy and be creative. So he started working on that first solo record with a bunch of singers, and I think basically, he didn’t quite know exactly what was going to be the result. It was just a record of these songs he had been working on, and then, I guess, I thought that he’d better put a band together to go and do some shows and support it. But he probably never invested too much time in thinking much about the band guys, other than “I’ll just get some good players, maybe some guys I know.” I think Slash always thinks the moment, so there was no big game plan like “here is the next phase of my career.” So when I got the call one day to play with Slash, I don’t know if either of us knew each other than he just said that I had been recommended by a bunch of people in the music business, which I think is very cool that some other people did that. I didn’t even know Slash initially was looking for a drummer, although a friend of mine had told me that Slash was thinking about putting a band together and doing some shows. The thing about this business is it’s so small, and it’s all who you know and who will recommend you, and who is talking about you. So most of my gigs before Slash were all recommendations. And gigs I had done, maybe a gig from 15 years ago, would bring me another gig and another gig. So basically, my introduction to Slash came from other gigs that I had done prior.

Because he knew I had played with Alice Cooper. If it wasn’t for that, and if it wasn’t for playing in Union prior and working with Bruce Kulick – who I then became friends with Eric Singer, and the dots that connected Eric and me as friends, then when I filled in for Eric with Alice Cooper, the benefit of having that on my resume “to say I had worked with Alice,” definitely helped me with the Slash gig. Slash said, “I heard you had played with Alice Cooper,”…who is a good friend of Slash, so you see how it works? It’s because I was in Union, and all the things built into those dots actually connected me to Slash one day. He first just called me asking if I wanted to do some shows, and then fast-forward. We went on tour – and then it was a real thing. It wasn’t just like, and I thought maybe at; first, we were just going to do some talk shows in America and do one-offs here and there. And then down the road, maybe Slash will get back to Velvet Revolver. I didn’t know what he was thinking. I didn’t even really know him. Then we got to do a lot of shows, and I felt like we were a band. It takes time to get to know him; that’s the thing too. You can’t just put a bunch of people together and expect great things to happen.

As you said, it’s all about knowing the right people and building bridges.

Brent Fitz: Right, but I felt like I knew him already. We didn’t know each other personally, but I knew his career. I was a big fan of Guns N’ Roses and loved that record when it first came out. It changed all of us. I was 17 years old. I bought APPETITE FOR DESTRUCTION in the summer of 1988 in London, England, on a high school band trip. I bought the banned cover version at Tower Records in London. I was so fucking happy that I bought that record and found it in London!! I love the band. I probably played all the songs in cover bands in the late ’80s and early ’90s – that’s what I was doing in Canada. I was basically preparing myself. I didn’t know that at the time, but it’s like you are preparing yourself to put yourself in a position like this; I mean, it was like a happy accident – to maybe one day play them with Slash!!

cdapo cdworld


You probably saw Guns ‘n Roses live several times back in the day?

Brent Fitz: Yeah. I saw them twice; I saw them open for The Cult, I think in ’88, and then I saw them maybe ’88 or early ’89 when they open for Iron Maiden. This was in Canada – I was still living in Winnipeg. So the shows that came through then, I was limited to what came through Canada, which wasn’t a lot. But I got to see Guns N’ Roses twice before they were the hugest band in the world, and I went to those shows as a fan of the OPENING band. I liked Iron Maiden, but I loved Guns N’ Roses at the time. And I loved The Cult when I saw them too, but Guns N’ Roses blew my mind – I loved the songs. I would have also seen them on the Use Your Illusion tour, but by that time, I was already touring in my own bands, and I’m sure I had a gig that night.

Did you ever have a chance to meet Slash back then?

Brent Fitz: No, but I did go backstage, the second show. I had Iron Maiden backstage passes because I used to work in a music store, and the store was a liaison to all the shows at the arena. We would bring gear down to the bands from the store if they needed supplies. In Canada, it’s limited. And if you’re a guitar player on tour and you are running out of strings and have to find a music store or whatever, it’s not as easy in Canada to get those things. So I remember many times because Winnipeg is sort of in the middle of Canada, a long way from Vancouver, and the store that I worked at was this great drum store called Drums Unlimited. And when I worked there, I was a music teacher, and I also kind of work in helping sales and stuff so that they would send me down to the arena with drum heads for the bands in town. I met Eric Carr at that arena too with Kiss, and it was the first time I met Bruce Kulick. It was the Crazy Nights -tour at that arena, and I brought some drum heads down for the drum tech, and he was like, do you want to check out Eric Carr kit? Fuck yeah, I do. I went and sat on his kit, played it, and Eric Carr came over and said hi to me. It was fucking amazing. I was 19 years old.

To be honest, I’m a bit jealous now. “Laughs.”

Brent Fitz: Living in Los Angeles was an interesting time because there was a really popular jam night in the valley called The Baked Potato. Eric Singer and I would go down there all the time, and it was maybe a Tuesday night jam with a who’s who in the backing band: Teddy Andreadis was playing keyboards who was with Guns ‘N Roses, and a bunch of other great guys would always be like a core band. Then they would have people come up and jam. I would see Billy Sheehan and Gilby Clarke. I think Gilby was in the band and other guys. But Slash would show up once in a while. Steve Lukather would show up. All these cool guys would come down to The Baked Potato and just get up on stage. So there were many nights where Eric and I would go down, and we would jam a little, and then I would run into Slash. But it’s not the kind of place where I’d hang and be like, “what’s up, dude?” But everybody was drinking and smoking cigarettes, and it was just fucking insane. I saw Slash a bunch of times there. I remember when they were working on AIN’T LIFE GRAND, the second Snakepit solo record. The whole band came down a couple of times, Rod Jackson and Slash and the guys. I guess they were working on the record, and they came down to The Baked Potato to hang out. So many times, Slash and I came close to meeting “Laughs”!!

Now when you mentioned Rod Jackson, I liked his style when he was singing for Slash. But he had some problems, and that’s why their collaboration didn’t last longer?

Brent Fitz: I don’t know the guy; I met him back in those days. But he wrote all those songs with Slash to easily put a band together and play the songs. We’ve played some of those songs, and they went over really well. We’ve played “Mean Bone” and “Just like Anything,” to name a few.

Actually, “Mean Bone” is my all-time favorite Slash song.

Brent Fitz: We played that for a long time, and yeah, it’s a great song. And it showed up on tour again not long ago, and we actually played it recently. Again, we were just talking about the set-list earlier – It’s so great to play with Slash because the set is never the same. No complacency in the set-list. The set-list you saw today had to be altered a little bit for the festival because it’s not a two-hour show today, so we kind of look at “what’s the songs that we need to play?” But during a regular headlining show, we would play those songs, and then we definitely add “what’s the cool song that we haven’t played in a while?” So, Slash will fill it out daily, and he doesn’t want to have the same show every night.

Brent and Slash 2011 in Helsinki
Brent and Slash 2011 in Helsinki


Are there any Slash / Guns ‘N Roses songs you haven’t played yet, but would like to add to the set?

Brent Fitz: There are few; this is interesting, but I hate to bring up the song “November Rain” because it’s a very signature Guns N’ Roses song.

That would be a great choice, and you could then play piano on that one?

Brent Fitz: Here is the thing. Yes, I am capable of playing piano and keys…and have electric played piano on both Slash records – and usually just to color the sound a bit on the record, it’s not a lead melody instrument. But I don’t think we want to introduce a piano vibe in this band, although, yes, the tools are there. I could play piano, and I’m not speaking for Slash, but I know that that song is stamped with being such a signature piano-oriented song, but the solo is so iconic and so Slash. I hate even to say this, but I would love to hear Slash play that solo in context somewhere. Because I think a lot of people would like to hear it too, but I would never say that we can or will do that, ever. But maybe it would be cool to figure out how that part of the song can segue into something; you never know. I don’t think there is going to be any reason for us to do that, But what IS cool is that for a while, I think Todd and I were always suggesting “we should do You Could Be Mine” or something off USE YOUR ILLUSION, and how would we approach that? It’s always up to Slash because he’s got to feel what seems right. And we don’t want just to throw songs in the set, unless they have a good life span, in the way that “You Could Be Mine” started this tour earlier with Aerosmith. And then, just before Christmas, we started to add “Double Talkin’ Jive.” So now we have two songs from USE YOUR ILLUSION. But if you go back three or four years, we were doing “Always on the Run” by Lenny Kravitz, which is a song that Slash played and which was super cool too.

One song that I would like to hear live someday is “Coma.”

Brent Fitz: I love that song as well. There’s plenty of “still to be played yet” songs in the set, but there are still some cool ones on the solo records too. We played a lot more Velvet Revolver in this band at the start, but yeah, anything is possible. It just seems to make sense for it to be “the sky’s the limit.” The band is so good at playing any of Slash’s entire musical catalogs. We are not limited in some ways. So all I can say is back to the “November Rain” thing, let’s not even go there with that song. But the tools in this band exist so that we can play them. That’s all I want to say.

cdunion cdblue cdunionlive


There are always people who keep on asking about Guns N’ Roses reunion. Have you ever worried that it might happen someday?

Brent Fitz: No, I don’t actually worry about it because I have no control over it. So why would I even start to think negatively and wonder? Because I’m enjoying being in this band, and if something changes, that’s Slash’s decision, not mine. I think he’s found a really great, happy place right now, and I’m glad that we are a part of it. But at the end of the day, it’s whatever he feels; he’s got the big choices to make. We get to contribute to this band collectively, but if I want to go and play in another band, that’s my choice too. If Slash wants to go and play in another band, and it happens to be a band he’d already played with, that’s his choice. Everyone in this band is not locked into each other. We like playing with each other, so if it changes, that would be unfortunate. I’m not thinking about it, and I’m not worried about it. But I think everyone else gets excited and talks, and that’s just the way the business is. People are always… people are just people.

You have a great place in this band, and you’re a great musician, but if you should now do something else instead of this, what could it be then?

Brent Fitz: Everyone tells me…and I haven’t put too much thought into it, that I’m very people-oriented and I’d be a good manager because I’m very good with looking out for people in the music business. I have a lot of friends, and I really cherish knowing people around the globe; and I have met so many great people because of my music career. So part of being in the music business is having a good circle of all that. What kind of means that it might be advantageous one day if I’m not doing the justice of being a worthy drummer in a band. I’m healthy right now, and everything is fine, but things could change. I had some problems on tour earlier this year, and it kind of gave me a little health scare; it got me thinking…“I’m not invincible.” So I would think that I would want to contribute to the music business somehow, but maybe..and this is what other people have told me that “you would be such a great manager, you’re really good with people.” But to be honest, a lot of the managers that I have worked with have only had a few good ones. And the rest of them, the personality trait of a manager, is very ruthless and very much not the kind of person I am. Those people need to have a certain type of personality to get the job done. So in my mind, I’m not the ruthless Canadian…it’s not in my DNA. But I think I have it inside me to give good direction, and for knowing how to guide someone else who’s up and coming, I’m always supportive of up-and-coming musicians. I have always been the young guy in every band I have been in, except for one band, and I was not in that band very long. I felt strange being the oldest in the band. I feel good playing with much more successful people and much more insightful, and I have more experience. Because of that, it makes me ‘up my game’ a little bit. But at some point, as I’m getting older, I’m eventually going to be the guy who is older than everybody else. So I think I could help guide some other artists tomorrow and do some sort of managerial thing. I hate even to say that right now, but other people have said it to me. I have really helped a lot of other musicians get job opportunities, just by being myself. I’ve put several guitar players in Alice Cooper’s band. I’ve put a lot of other bands together. When I worked with Vince Neil, I was putting guys in. This band is the same thing; I brought Todd to know that I thought he would be a great asset to this band. I also brought Frank in, and all I can say is it’s not my decision to say…but I think it’s a good band. I’d like to say that I had some influence on putting some good people in Slash’s band.

I know that this question is much ahead of time, but have you ever thought about how long you will be able to continue playing at the current level?

Brent Fitz: I never thought of that until the last couple of years. When I was in Union, of course, the sky was the limit. I was in my 20s and didn’t even think about when my career would end. But the longer I’m doing it, and now that I have played with a lot of other artists, it’s really cool to look back and say, “now I have had the pleasure of working with a lot of different musicians.” And I just get off on working with different personalities and different styles of music. But after a while, you realize, like even today, I said, “shit, it was 15 years ago when I first played here with Union, but it feels like yesterday”. I don’t feel any different. I’m the same person, the same musician. But things just happen, as you get older and a lot of my heroes…your heroes too Marko, we all want everyone to look and be the same as when they first came out. I love thinking that Led Zeppelin – let’s use Led Zeppelin as an example – Robert Plant has evolved into a different guy now. Jimmy Page. They are all different people now in their careers.

I was speaking with somebody else today about the fact about metal and music overall. The bands who started it all: Zeppelin, Sabbath, Purple. They never quit and are still here in one form or another.

Brent Fitz: We were just talking about Ozzy earlier and how we love him. He gets up on stage, and everybody loves Ozzy still. It would be terrible to think one day that Ozzy is not going to be with us; it’s fucking scary.

The world will be a different place once those big personalities are not there anymore.

Brent Fitz: I know, I know. It’s interesting how bands have kept going and somehow have added a few guys here and there. It just happens if a band is around for 30-40 years.

Are we talking about Kiss now? “Laughs”

Brent Fitz: Yeah, we can talk about Kiss or not. But there are other bands just like Kiss who have had to, like Toto. I’m really looking forward to seeing Toto today. That’s one of my guilty pleasures; one of my favorite bands of all time is Toto. I love all the individuals and all the music and their work with other artists. I’m really invested. I love that band. There have been a few guys come and go in the band, but the band is still around. It’s a 40-year-old band, and Kiss is a 40-year-old band. AC/DC is a 40-year-old band; Sabbath and Rolling Stones are even more. Slash has been around for almost 30 years. Playing with Slash, I have been really fortunate to get in with a whole other level of working with and being around some of my other heroes. When at one time, I was just in the audience going to see those great bands. But just to have the pleasure of shaking someone’s hand whom I’ve idolized, and now as a member of Slash’s band. I was just talking to some people backstage today, and they were all people I have admired in the music business. But it’s really this…I don’t ever stop being a fan. Never!! My heroes are still my heroes. Every time I see Kiss, they are still my heroes. It doesn’t change, it won’t change, and it shouldn’t change. Because I want that feeling, I see the band, and I want to feel the way I first felt when I wanted to play music…when I was seven, eight years old. So that’s what I long for, is staying a fan.

Union live at Stockholm 1999
Union live at Stockholm 1999


You have been working in this business for over twenty years now. What have been the most memorable moments you’ve experienced as a musician so far?

Brent Fitz: I can’t think of one specific, but there was a surreal dinner that happened at Slash’s home. He hosted a dinner and invited a bunch of people over…it was really cool. We were in rehearsals, and our whole band came over, but also Ronnie Wood stopped over, and Lemmy stopped over. But it wasn’t ‘those guys’ in Motorhead and The Stones, it was just people and everybody just hanging around the kitchen, talking. It was a pretty special moment. Slash is just..well, he’s that fucking cool cat!! And a lot of his friends just happen to be just some of the greatest cool cats in the business!!!… So many people just respect him. When we were recording APOCALYPTIC LOVE, it was really cool when Ronnie Wood actually stopped by the studio, just to say hi and interact with everybody. He was talking gear and was checking out the new songs and everything. So that kind of thing never gets old to me. “Hey, it’s someone from The Rolling Stones.” Rolling Stones, come on. Ronnie Wood stops over to check out the new songs???? those moments come to mind. Also, to work with Gene Simmons in the studio with Bruce Kulick on Bruce’s solo record BK3. The coolest thing was we did a song that day, and the song was sort of demoed in a certain ‘style’ and then re-recorded that day. It was sort of an open game, and Gene was going to put some lyrics to it and sing on it that day. And I did record drums based on the demo, and Bruce, I think, had already played some guitar stuff. But it all was about getting the live drums down. I remember I had played a bunch of takes a certain way, and then Gene came in, and he offered some really cool constructive advice in the verses. “It should be really free format,” it sounds like a song that you wouldn’t have to have ‘demo-itis’ to sing with. So it was cool that he actually pushed me into playing a lot freer style, more like Keith Moon. That was cool that it was Gene Simmons, and he’s in the studio. I’ve had so many great experiences with Bruce, including Gene in it, and have a great day being in the studio, and in the way, it came out GREAT!! Then we even got to play the song live later, with Nick Simmons.

Those were amazing stories. I can only imagine how it was to be in the studio with Gene Simmons “Laughs.” How about your time with Alice Cooper? Maybe you have some interesting stories to share from that period as well?

Brent Fitz: I have to think about that because my Alice moments were so fast as furious, and I would get thrown into the gig, and then I wouldn’t even be able to enjoy the moments…until I left. I was always saying, “shit, that just happened?” Because a lot of times I was rehearsing on my own and learning the show, and then going in and just doing it, but not full band rehearsals…and I was expected just come in and nail the show, without a rehearsal. A couple of times, I used Eric Singer’s gear, which added to the already very high-pressure situation. The Alice gig – it’s basically a choreographed two-hour show of 40 plus songs in medley mode and with props and theater-type stuff going on around it. You have to be aware of not just the songs…because it’s very choreographed. I remember my first Alice Cooper gig was somewhere in the States, and the moment when the show is almost over, and I’m just like dripping in sweat because of the stress of all of it, and I’m just thinking….” did I nail it? I don’t know”. But then there’s also the end of “School’s Out,” and Alice has to throw the top hat at you. I was told, by the tour manager, right before we went onstage about catching the hat. Everybody in the band was pumping me up for the show. It was just all very “you are going to be fine, everything is cool.” I felt confident. But then they were all saying, “don’t forget to catch the top hat at the end of the show…and don’t fucking drop it. So, of course, I think I was much more worried about dropping the top hat than I was the whole show. So the whole night, I was just going through the songs and thinking, “shit, then it’s time to catch the top hat at the end of the night.” So in the end, I’m waiting for the hat…and didn’t fucking drop it. And never dropped it the entire time I played with Alice. So it was a big deal. I wanted to make certain I never dropped it. (Laughs). Seeing Alice Cooper in the daytime – the Alice Cooper that’s the dad and the golfer, he’s such a good guy, very smart. You could talk to Alice about so many things. But then when the makeup is on a couple of minutes before the gig, and you’re backstage, and Alice taps you on the shoulder, and you look at him dressed as ‘Alice Cooper’…It’s fucking heavy!

So he really changes that much between on and offstage?

Brent Fitz: It’s a totally different person, yeah.

That’s enough by now, Brent. Thank you for telling these great stories.

Brent Fitz: No problem Marko.





DSC_5680 DSC_5742 DSC_5875
DSC_5674 DSC_5755 DSC_5645
DSC_5714 DSC_5812 DSC_5838
DSC_5840 DSC_5660 DSC_5881