Brought to you by the great team behind Classic Rock, Blues Magazine is a mix of old and new; cult and mainstream – and celebrates 75 years of great blues music.

The second issue features elder statesman of the blues, B.B. King, talking about his early days and incredible career.

PLUS: Young, Gifted & Blues, a free 15-track CD featuring the best in young blues talent including Joanne Shaw Taylor, Oli Brown, Jo Harman, The Strypes, Krissy Matthews, Lucy Zirins, Hooson and more…

Also included in issue No.2:

Bonnie Raitt – talking about Slipstream, her first studio album in seven years

Robert Cray – talks to Charles Shaar Murray about his new album Nothin’ But Love

Tab Benoit – the Louisiana legend talks blues and trying to save his native swamplands

Ian Siegal & The Mississippi Mudbloods – the hottest new Brit/US blues supergroup interviewed

A tribute to Chicago blues guitarist and Howlin’ Wolf sideman Hubert Sumlin

The greatest British blues albums part two, 1967 to 1970

The latest blues and roots CDs, DVDs and books reviewed and rated

And interviews with…

Giles Robson & The Dirty Aces

Debbie Davies

Sandi Thom

Alex McKown

The Brew

The Motives (featuring Matt Taylor)

Lars Ulrich says Metallica try to avoid acting like big shots backstage – although they may be guilty of having done so in the past.

The drummer insists he likes to avoid giving advice to younger bands, and reveals he still has his own star-struck moments when he meets heroes like Dave Grohl and Neil Young.

Ulrich tells The Owl: "We always try to go and hang out.

"We definitely had the days of hiding behind the big walls, and we may have been guilty doing some of that stuff in the 90s, but we really try to put ourselves out there.

"It’s more fun for us. It’s great to meet other people and immerse yourself in some of that energy.

"When I’m around Jack White or Dave Grohl or people like Neil Young, I’m like a fucking kid in the candy store myself. I went to see Muse and the Arctic Monkeys and the Black Keys – these are great experiences for me too.”

The thrash giants might be expected to be asked for hints and tips, but Ulrich says: "I give as little advice as possible, man. If somebody asks me I’ll try to answer just their sincere questions. But we don’t walk around like some sort of elder statesmen.”

Meanwhile, Mission to Lars film maker Kate Spicer has admitted she hoped Ulrich might turn out to be an "a’hole” because it could have made her movie more interesting.

The drummer has shown active support for the documentary which tells the story of Spicer’s learning-disabled brother Tom and his attempt to deal with his demons in order to finally meet his hero.

Reporting on a showing of the movie in Mexico City, which Ulrich attended, she says: "I thanked Lars for showing Tom the respect that so often learning-disabled people are not afforded.

"People asked him why he had done the film, and part of his answer was that perhaps because he’s a parent he is much more compassionate. I found it strangely touching, though it was not an unusual thing to say. He had three wristbands on – they were from a trampoline place he takes his kids.

"I said we had hoped, secretly, sometimes before we got to meet him, that Lars might turn out to be an a’hole, so that our film might have some Borat magic.”

Chickenfoot guitarist Joe Satriani’s guitar playing and tone were every bit as fantastic as they are on his studio work. Sporting a shaved head and black sunglasses, Satriani pulled an endless stream of notes, sounds and aural emotions from his guitars while the group pounded out peppy takes of "Lighten Up,” "Last Temptation,” "Sexy Little Thing,” "Soap on a Rope,” "Down the Drain” and Montrose’s "Rock Candy.”

Anyone who previously predicted that Chickenfoot would tumble without original drummer Chad Smith found the opposite true via the presence of skin-hitter Kenny Aronoff (John Cougar, Smashing Pumpkins). With Smith back with the Red Hot Chili Peppers, Aronoff backed Chickenfoot with the same intense firepower of a young Keith Moon while retaining the otherworldly precision of drum masters Bill Bruford and Neil Peart. The grinning Aronoff just didn’t hit his drum heads and cymbals; he playfully grimaced, striking his set ferociously as if Rocklahoma were his last-ever gig.

Chickenfoot’s on-stage chemistry was as terrific as their chops. I can’t remember ever seeing a concert where every single member laughed, joked with each other and tried to make each other giggle during instrumental passages. The quartet’s inner-group warmth was contagious.

"When I was a 4-year-old boy, I knew I wanted to make music,” said Hagar near the end of the group’s set. "That’s the reason to make music. I want to still feel like that 4-year-old boy, loving music. I have that same passion now, and that’s what Chickenfoot is all about. We’re about making music for fun –  playing with that passion.”

Other acts at Rocklahoma also making big, positive noise where Slash, Megadeth, Rob Zombie, Queensryche and Christian rockers Red and P.O.D., as well as the original lineup of Creed. Slash and Alter Bridge singer Myles Kennedy fronted Slash’s band, whipping out tasteful takes of Slash’s solo material and Guns ‘N’ Roses’ "Sweet Child O’ Mine” and "Paradise City” on May 25th. Slash ignored the evening’s unforgiving heat and humidity – sweat was dripping from his wrists and elbows by the end of his second song – and played flawlessly on his Les Pauls.

Queensryche also took to the stage with fire and professionalism, infusing new grit and purpose into "Jet City Woman” and "Eyes of a Stranger.” When "Silent Lucidity” arrived, the 20,000-plus crowd cheered before singing along with vocalist Geoff Tate in massive, echoey unison.

One of Rocklahoma’s biggest surprises were Creed, who wisely kept their set in heavy-rock mode while following Slash’s hard-hitting session. Creed’s instrumental play was fast and punchy, with singer Scott Stapp barking and hissing many of their lyrics in an appealing voice. Creed’s effort, like Rocklahoma itself, was a winner.