How Chris Jericho Built His Own Brand of Heavy Metal

When Chris Jericho first launched Fozzy, he was just looking to have some fun. But after a couple of years, he realized it was something more serious than just a covers band.

"Everything’s changed to a much bigger perspective than we ever thought about when we first started out," the wrestling legend tells UCR now.

Fozzy is currently in the midst of their 25th anniversary tour, while Jericho continues to dabble in a variety of projects outside of his time in the ring for AEW, including his return to the silver screen this week (Oct. 11) in the latest installment of the gory slasher film series Terrifier. 

During a recent conversation with UCR, Jericho shared his thoughts on the Fozzy milestone, along with some of his favorite underrated Kiss songs and a bit of wrestling talk.

It's hard to believe we're sitting here talking about the 25th anniversary of Fozzy. I'd love to hear your memories of the early days and how it eventually crossed a line and became something else for you.
So I’ve always been playing in bands since I was about 13 or 14 years old. Way before I ever got into wrestling, I was playing in rock and roll bands. My high school band was called Scimitar, you know the curved sword that Sinbad uses. We played [iron] Maiden, Metallica and Megadeth covers and we also had a lot of our own original stuff. I always loved playing. I was a bass player in [the band] and I sang. I still continued to always dabble in music. About ‘97 or ‘98, I really started thinking that I wanted to put together something and do a tour and play some shows and focus more on my band stuff. I missed it, because wrestling came along and that kind of kept me really busy, but I still liked playing. There’s nothing like playing with other musicians and playing a song that you wrote or a song that you note. It’s like, “Wow, that sounds really cool.”

I just happened to meet Rich [Ward] backstage at a WCW show in San Antonio. He was there doing some work with Diamond Dallas Page and Stuck Mojo. We just started talking and really hit it off. I was like, “Man, I really want to do something and put together a band.” So he was like, “Why don’t you come to Atlanta? I’ve got this side project thing I do with anybody that’s in town called Fozzy Osbourne and we just play covers and have fun. That’s basically how it started. We did a couple of shows [using that name] and it really worked. Right out of the gate, it was something that had interest, because Stuck Mojo was really popular on the underground scene and Jericho was popular in WCW. I was just about to jump to WWE, so it was really good timing to put together a band. For the first couple of years, obviously we had the storyline, which was kind of a Spinal Tap / Blues Brothers / Traveling Wilburys type of thing. I remember the day we decided to switch. We did the Howard Stern Show and at the time, Howard [had a band] called the Losers and he claimed that his band was better than any celebrity band.

That’s when I was like, “We’ve got to go in there as ourselves. We can’t go in there as characters and we’ve got to play an original. So that’s the day we decided, “Let’s do all original stuff, drop the storyline and characters. That was 2002, so for two years out of 25, we had a different kind of vibe. Then we started doing all of our original stuff. 2010 is when Rich and I said, “Let’s make this a full-time thing and really go for it. Fast forward to 2017 when the Judas record came out, that’s when we became a radio band. Here we are now with seven top 10 radio singles and a gold record. Suddenly, everything’s changed to a much bigger perspective than we ever thought about when we first started out.

I wondered how much you had it in your sights at the time that Fozzy could ever be something like that.
I mean, you never do anything half-assed. Right out of the gate, we did a mockumentary about Fozzy that was on MTV that ran, I don’t know, 20 times. Ozzy [Osbourne] and Zakk Wylde and those guys, when they were on tour, loved watching it. So we always kind of had some mainstream acceptance going on. But when we really started getting played on the radio -- when Judas broke on the radio and went to number 5 -- I never realized how important rock radio was, until we started getting played. Suddenly, it changed everything and became this really big, massive success. We’d done well, but before that, it was a completely different thing when Judas began. I think that’s when the modern era of Fozzy started, which is where we are right now, where the band is bigger than ever. I mean, we just drew the biggest crowd we’ve ever had on our own, the most tickets that we’ve sold ever as a headlining band, in England. It blew us away, how the band continues to build.

Watch Fozzy's 'Spotlight' Video

Each time I talk to Bruce Kulick, he is over the moon about what you're doing with your Kiss tribute, Kuarantine. Fans appreciate that you're out there keeping that era of Kiss music alive. For you, what's a song or even songs from that era you'd consider underrated?
We’ve recorded so many of them. “Heart of Chrome” is amazing. “Turn on the Night” would be a huge hit, but Paul said that in the ‘80s, radio considered Kiss to be dinosaurs and they didn’t play Kiss on the radio a lot. I think “Heaven’s on Fire” is one of the best written songs of the ‘80s, period. But if you just go through the records, Revenge, “Heart of Chrome.” Hot in the Shade, “Silver Spoon,” we’ve done both of those songs with Kuarantine. Crazy Nights, “Turn on the Night” and “Good Girl Gone Bad,” which just went Top 10 for us, is a great tune that no one really knows. “Who Wants to Be Lonely” is amazing. “Uh! All Night” is amazing.

The list goes on and on. “Under the Gun,” I mean, you can just throw some out there and they’re probably pretty good. People don’t realize how technical Kiss is as well. Those songs from the ‘80s have a lot of pretty difficult parts. There’s been some of them that we’ve dropped, because they’re hard to play live. “Love’s a Deadly Weapon” is hard to play. “Thou Shall Not,” a great Gene [Simmons] song that no one really knows from Revenge is hard to play live. Then we added “All Hell’s Breakin’ Loose,” “Let’s Put the X in Sex,” what a fun and goofy song that is, but it’s f--king great. It’s so much fun to play live. Kuarantine’s a whole other thing and we love doing it, because it’s just fun and the music is great and there’s unlimited resources. We could record another 50 songs from those records and still have some left over to do.

READ MORE: Top 10 Songs Kiss Never Played Live

On the wrestling side, when you develop a gimmick like the Learning Tree, how long do you fight the temptation to change or abandon it?
It’s not really temptation, it’s just knowing when to do that. I think the temptation is to try to hold onto it a little bit longer, because it’s always hard to reinvent, but you have to do it. You know, Learning Tree happened, kind of as a f--k you to internet haters that then caught on and the people that hated it, now they love it. Some of them that hated it, hate it even more, but that’s okay. That’s the idea, right? I never have a problem taking a chance and reinventing.

It’s Kiss, it’s the [Rolling] Stones, U2, Led Zeppelin, Guns N’ Roses, any band that has that longevity changes. You’ve got to change up your stuff and try new things, unless you’re AC/DC, in which case you can play the same song a hundred different times and they’re all great. I’m a huge AC/DC fan. But most bands and performers can’t last 40 or 50 years by doing the same thing. You have to change it up. I’ve never had a problem doing that and I don’t have a problem doing it now. I know when to do it -- my gut instinct tells me -- and then you come up with something different. That’s the challenge.

Watch Chris Jericho and the Learning Tree

READ MORE: Why Did Chris Jericho Leave the WWE?

How much do you think AEW needs something like The Bloodline, a gimmick that hits nationally to take things to the next level? How close do you think the Devil was to being something like that?
Everybody needs a story like that. You know, we’ve had versions of those stories that really resonated. I think the Swerve Strickland / Hangman Page story is a great example of that. But that’s the secret. You write a story and people like it and it connects or it doesn’t. But the ones that work, you focus on them. The ones that don’t, you come up with new ideas. That’s the secret of wrestling. It’s storytelling. It’s not about flashy moves, bangers and all of that sort of stuff, it’s about telling stories and about creating something that people feel and people relate to. If you can do that, they’ll be super-interested. That goes for anything. It goes for a great movie, a great rock and roll band, you name it in entertainment and show business. If you can connect with the audience, you’ll always have a gig, if you can make people feel something and get excited about what you’re doing, they’ll always be there to support you.

In WWE, the little guys almost never got over. In AEW, it seems to be the opposite. Why do you think guys like Brian Cage, Powerhouse Hobbs, Lance Archer, even Wardlow, for the most part, are not finding themselves featured? Meanwhile, people like Brian Danielson, the Young Bucks and Orange Cassidy have all had huge pushes.
The guys you just mentioned all really know their characters and they all connect with the audience. The guys you mentioned prior to that, it’s not that they don’t connect with the audience, but the business has changed. Size really doesn’t make a difference and it never really did. In the early days when I first started, maybe it did. But I was [doing] Main Events everywhere i went and I’m 5”11. I was 220 at the time and this was the days of your six foot eight behemoths. It’s fine to be big, but you have to be entertaining and understand. Hulk Hogan was the best for that, but Randy Savage was my height and he was even more exciting. It’s always been about storytelling, character and connecting with the audience. Now, it’s just more prevalent. Guys aren’t as big anymore, it’s just the way the business has changed. It’s still the same as it’s always been though. You have to connect with the audience and if you can do that, you’ll get over.

'Vincebus Eruptum'

Blue Cheer (1968): Blue Cheer is the only band with a legitimate case for launching heavy metal prior to 1970. This project's devastating assault redefined musical aggression, distortion and deafening volume. TV host Steve Allen said it best once when he introduced the band: “Ladies and gentlemen, Blue Cheer. Run for your lives!”

'Black Sabbath'

Black Sabbath (1970): Many artists contributed key ingredients to heavy metal's blueprint, but this debut brought it all together: the crushing power chords, minor key melodies, occult themes, you name it. And to think it was recorded in just a single, frantic day.

'In Rock'

Deep Purple (1970): Deep Purple simultaneously reinvented their sound and revived their declining career with this album, ignited by Ritchie Blackmore’s blistering guitar strangling on “Speed King.” Add Ian Gillan’s banshee screams with Jon Lord’s blazing organ runs and heavy metal’s next powerhouse band had arrived.

'Paranoid'

Black Sabbath (1970): Black Sabbath consolidated their place atop heavy metal’s pyramid with their incomparable sophomore opus. Quite possibly the ultimate metal album, 'Paranoid' included future standards like “War Pigs,” “Iron Man,” “Hand of Doom,” and the title cut.

'Very ‘eavy, Very ‘umble'

Uriah Heep (1970): Another British band combining roaring guitars with forceful organs, this quintet arrived a little after Deep Purple. Simply titled 'Uriah Heep' in the U.S., the album showcased David Byron’s operatic vocals on dramatic head-bangers like “Gypsy” and “Bird of Prey.”

'Kingdom Come'

Sir Lord Baltimore (1970): These Brooklyn cult heroes arguably recorded America’s first bona fide heavy metal album. And while they enjoyed precious little recognition in their day, Sir Lord Baltimore have since been rediscovered and justifiably championed by modern generations of metal-heads and stoner rockers.

'Master of Reality'

Black Sabbath (1971): Black Sabbath came back heavier than ever before on their third LP. Behind the album’s dour, minimalist cover art, lay a raft of new doom standards in “Children of the Grave” and “Into the Void” – but also a pot anthem for the ages in “Sweet Leaf,” which many cite as the official birth of stoner rock.

'Vol. 4'

Black Sabbath (1972): One of Black Sabbath’s most complete albums. “Tomorrow’s Dream” and “Supernaut” had riffs and hooks galore; “Snowblind” and “Under the Sun” were deliberate tanks of doom; “Wheels of Confusion” pushed the experimental envelope; and the aptly named “Changes” was Sabbath’s first true ballad.

'Machine Head'

Deep Purple (1972): A run of early ‘70s heavy-metal supremacy achieved its commercial zenith with a Deep Purple album that featured the guitar riff to end all guitar riffs: “Smoke on the Water.” But Purple’s multi-million seller was no one-trick pony, thanks to other benchmarks like “Highway Star,” “Never Before” and “Space Truckin’.”

'Sabbath Bloody Sabbath'

Black Sabbath (1973): The fifth essential heavy metal album in the span of four short years from Black Sabbath was almost derailed by increasing drug abuse and personal tensions. Luckily, Sabbath duly conquered these adversities with their most sophisticated production yet, all while losing none of their fearsome power.

'Never Turn Your Back on a Friend'

Budgie (1973): This stellar third LP captured the perfect distillation of the Welsh trio’s tight ensemble playing, inventive songwriting and quirky sense of humor, as evidenced by the juggernaut named “Breadfan” (made famous later by Metallica), the dynamically eclectic “Parents,” and the snickering “You're the Biggest Thing Since Powdered Milk.”

'Secret Treaties'

Blue Oyster Cult (1974): It took them a couple of albums and a few hundred tour dates, but Blue Oyster Cult finally hit upon the perfect mix of idiosyncratic thinking man’s metal. The Long Island quintet would go on to enjoy even greater success, but it may not have happened without this career-defining LP.

'Burn'

Deep Purple (1974): Reinvigorated by the arrival of new frontman David Coverdale and singing bassist Glenn Hughes, Deep Purple charged back with a vengeance. Proof positive that the greatest bands are more than the sum of their parts, the album’s impeccable songcraft helped fans get over the departures of Ian Gillan and Roger Glover.

'Sad Wings of Destiny'

Judas Priest (1976): This was the line separating heavy metal’s first half-decade and what was to follow. 'Sad Wings of Destiny' also pegged Judas Priest as the style’s next, archetypal band after Black Sabbath. As such, new standards like “Tyrnat,” “The Ripper” and “Victim of Changes” held the keys to heavy metal’s past and future.

'Rising'

Rainbow (1976): Rainbow reached the peak of their creative powers on this suitably named album, as Ronnie James Dio and Ritchie Blackmore boosted their lineup with legendary drummer Cozy Powell. Only a handful of ‘70s metal albums can touch the greatness of such landmark compositions as “Tarot Woman,” “Stargazer” and “A Light in the Black.”

'Stained Class'

Judas Priest (1978): Another major step in this band's musical evolution and, by extension, heavy metal’s. Here, Judas Priest foreshadowed speed metal’s rise with “Exciter,” wrote their ultimate power ballad in “Beyond the Realms of Death,” and courted undreamt of future controversy with “Better by You, Better than Me.”

'Long Live Rock 'n' Roll'

Rainbow (1978): Ritchie Blackmore’s restless soul drove him closer to the mainstream once again, to the frustration of soon-to-be-ex-singer Ronnie James Dio. But along with the irresistible title track, there were still timeless head-bangers like the frantic “Kill the King” and majestic “Gates of Babylon.”

'Overkill'

Motorhead (1979): Lemmy Kilmister and company came into their own here, ending years of uncertainty on the fringes of London’s post-punk scene and silencing scores of critics. The joke was on them: Motorhead were one of the best, and 'Overkill' is right up there, too.

'Lovedrive'

Scorpions (1979): It was easy to predict disaster when the Scorpions parted ways with Uli Jon Roth. But instead the band rose to the challenge, releasing an album featured concert staples like “Another Piece of Meat,” “Coast to Coast,” “Holiday,” and, oh yeah, some cat named Michael Schenker temping on guitar.

'Heaven and Hell'

Black Sabbath (1980): Against all conceivable odds, new frontman Ronnie James Dio had many fans asking “Ozzy who?” (for a short while, at least), while Tony Iommi’s power chords and Geezer Butler’s bass thunder answered heavy metal’s call with the utmost authority. Black Sabbath was reborn like a glorious phoenix of doom.

'British Steel'

Judas Priest (1980): As the '80s dawned, Judas Priest astutely revised their sound by dispensing with earlier songwriting complexities on this amazingly streamlined and direct album. At the same time, powerful new triumphs like “Breaking the Law,” “Metal Gods” and “Living After Midnight” had lost none of their metallic sharpness.

'Iron Maiden'

Iron Maiden (1980): This inspired and, in retrospect, surprisingly raw eponymous debut led the New Wave of British Heavy Metal onto the global stage. In fact, today it’s not uncommon to see fan favorites like “Prowler,” “Running Free” and “Iron Maiden” praised for their latent “punk rock” qualities.

'Wheels of Steel'

Saxon (1980): Saxon readily accepted Iron Maiden’s challenge for N.W.O.B.H.M. supremacy, countering with a best-selling, hit-filled smash that quickly had audiences singing along to anthems like its title track, “Motorcycle Man,” and “747 (Strangers in the Night).”

'Lightning to the Nations'

Diamond Head (1980): Diamond Head didn't have the major label backing enjoyed by other N.W.O.B.H.M. peers, so their self-financed debut lacked exposure outside critical circles until Metallica championed their cause. But bad luck and poor timing can do nothing to diminish the unfettered magnitude of this LP’s accomplishments.

'Ace of Spades'

Motorhead (1980): This career-topping project helped Motorhead continue their inexorable assault upon the U.K. and Europe – only now they were also making major inroads into America, courtesy of the rip-roaring title track and equivalent stunners like “(We Are) The Road Crew,” “Love Me Like a Reptile” and “The Hammer.”

'Blizzard of Ozz'

Ozzy Osbourne (1980): An extraordinary debut album, 'Blizzard of Oz' saw Ozzy successfully bridge the ‘70s and ‘80s metal aesthetics with his music and wild man antics. It succeeded in no small way thanks to a secret weapon named Randy Rhoads – and a well-timed bat decapitation or two.

'Killers'

Iron Maiden (1981): Though only some of its songs would become regulars in the band’s live repertoire, this was no dreaded sophomore slump. In fact, the sonic improvements obtained by first-time producer Martin Birch brought Iron Maiden closer to the signature sound that helped define ‘80s metal.

'High 'n' Dry'

Def Leppard (1981): After leading the early N.W.O.B.H.M. charge, Def Leppard’s merely decent first LP lost them some momentum, but they rebounded here with a vengeance. The catalyst was, of course, producer “Mutt” Lange. He refined the young group’s raw songwriting and melodic instincts, with staggering results.

'Diary of a Madman'

Ozzy Osbourne (1981): Though this lacked the career-spanning hits found on Ozzy Osbourne’s debut, discerning fans know that spectacular tunes like “Over the Mountain,” “S.A.T.O.” and the title cut were cut from the same cloth. Or rather, the very same sessions, which saw Randy Rhoads’ guitar genius in full flight.

'The Number of the Beast'

Iron Maiden (1982): Their signature release, 'Number of the Beast' is also one of the landmark albums in heavy metal history. The recruiting of new singer Bruce Dickinson proved to be the final ingredient bassist Steve Harris was looking for to realize both his creative vision and his band’s remarkable potential.

'Screaming for Vengeance'

Judas Priest (1982): A Priest LP for all seasons, it was loaded with Grade A steel like “Riding on the Wind” and “Fever,” one of metal’s all-time best opening tandem in “The Hellion” and “Electric Eye” and a massive hit in “You’ve Got Another Thing Comin’.”

'Balls to the Wall'

Accept (1983): Germany’s Accept stepped boldly out of the Scorpions’ shadow with this sexually charged masterpiece. Highlights included “London Leather Boys,” “Lovechild” and a colossal title track.

'Pyromania'

Def Leppard (1983): Their partnership with “Mutt” Lange achieved its zenith here, even if perfectly constructed hits like “Photograph” boasted none of the group’s early N.W.O.B.H.M. grit. What they ended up with instead was a transatlantic smash that crossed over into the mainstream like no heavy metal album had ever done.

'Holy Diver'

Dio (1983): No Rainbow and no Black Sabbath? No problem! After years of playing second fiddle to heralded guitar gods, Ronnie James Dio struck out on his own with a stellar debut. This is ‘80s metal at its finest.

'Piece of Mind'

Iron Maiden (1983): With the arrival of drummer Nicko McBrain and the first songwriting contributions from charismatic frontman Bruce Dickinson, Iron Maiden’s classic lineup was locked into place. Meanwhile, Steve Harris remained in top songwriting form, ensuring the delivery of yet another Maiden classic – and an enduring fan favorite.

'Kill 'Em All'

Metallica (1983): This underground release shifted the thrash metal movement out of neutral and straight into fifth gear. Fast, furious, jagged and uncompromising, Metallica’s debut revolutionized the style, inspired scores of imitators, and set the San Francisco band’s dynasty into motion.

'Shout at the Devil'

Motley Crue (1983): If there’s a heavy metal equivalent to the Sex Pistols’ punk rock debut, it’s probably Motley Crue’s sophomore triumph – where quality musicianship takes a backseat to furious energy. It's here where they begin an inexorable march to stardom.

'Powerslave'

Iron Maiden (1984): A golden streak of essential metal culminates with 'Powerslave,' which ran the full gamut of Iron Maiden's talents, from galloping head-bangers like “Aces High” and “2 Minutes to Midnight,” to the progressive aspirations of the title track and “Rime of the Ancient Mariner.”

'Love at First Sting'

Scorpions (1984): 'Love at First Sting' blurred the lines between heavy metal and hard rock, retaining all of the hallmarks established by the Scorpions in the ‘70s while adopting the modern ingredients and melodic smarts (see “Rock You Like a Hurricane,” “Coming Home,” etc.) necessary to attract audiences beyond metal’s domain.

'Ride the Lightning'

Metallica (1984): A significant leap forward for thrash metal’s leading lights, as Metallica somehow managed to get heavier (“For Whom the Bells Toll”), faster (“Fight Fire with Fire”), more ambitious (“Call of Ktulu”) and more accessible (“Fade to Black”) in one fell swoop. What’s more, “Creeping Death” alone nearly covered all of those bases.

'Orgasmatron'

Motorhead (1986): After suffering the collapse of their beloved power trio lineup and spending a couple years on recording lockdown due to bad business deals, Motorhead returned in a big way. The title track alone stands among the band’s heaviest creations and boasts some of the greatest heavy metal lyrics ever written.

'Master of Puppets'

Metallica (1986): Thrash crossed over to the metallic masses with 'Master of Puppets,' an album that's a cornerstone of any respectable heavy metal discography. Highlights include the title track and the devastating “Disposable Heroes,” on an LP that gained even more significance after the death of bassist Cliff Burton, just months after its release.

'Reign in Blood'

Slayer (1986): The ultimate thrash metal album, 'Reign in Blood' is still the most frantic, satanic and just plain thrilling half hour of music ever committed to tape. Many bands have since tried to match these impossibly high standards, without success.

'Peace Sells ... but Who's Buying?'

Megadeth (1986): Dave Mustaine, late of Metallica, puts on an absolute master clinic of technical skill, political commentary, and undeniable hooks with his new band's platinum-selling sophomore effort.

'Among the Living'

Anthrax (1987): The fourth and final definitive title delivered by thrash metal’s vaunted “Big Four,” this may have been the most cerebral of them all. Still, that distinction couldn’t mask its raging aggression. Instead, “Caught in a Mosh,” “I am the Law,” and others welcomed countless thrashers into the pit.

'Operation: Mindcrime'

Queensryche (1988): A state-of-the-art conceptual heavy metal album then, 'Operation: Mindcrime' remains the standard. It's a peerless marriage of cerebral subject matter and songs so infectious commercial radio couldn’t help but love them, despite their challenging progressive intricacies.

'Painkiller'

Judas Priest (1990): Judas Priest didn’t hesitate to play the pop metal game (see 'Turbo') for the second half of the '80s. By 1990, however, Priest must have sensed the turning musical tides and wisely reinvented themselves. This was by far the heaviest album of their career to that point.

'Rust in Peace'

Megadeth (1990): After years spent diluting his talents in Olympian chemical abuse, Dave Mustaine finally got it together and recruited the ultimate Megadeth lineup. And, at a time when thrash was already running dangerously low on new ideas, the quartet arguably delivered the last word in technical, yet accessible thrash.

'Metallica'

Metallica (1991): The 'Black Album' was their coronation, signifying Metallica's graduation from world’s biggest thrash band to world’s biggest heavy metal band, period. Producer Bob Rock helped Metallica hone and simplify their songwriting, creating instant classics like “Enter Sandman” and “Sad but True.”

'Vulgar Display of Power'

Pantera (1992): Pantera staked their claim as the definitive American metal band of the '90s with this totally overpowering release. Having shrugged off a decade of lame pop metal with a stunning turnaround via 'Cowboys from Hell,' Dimebag Darrell, Phil Anselmo and company defined groove metal – making themselves uniquely bulletproof to the ravages of grunge.

Next: 35 Great Rock and Wrestling Moments