headbanger alley

Top 20 releases of 2011

2012-02-02T10:12:00.004-08:00

1. ARCH/MATHEOS: Sympathetic Resonance
2. ARTILLERY: My Blood
3. HATE ETERNAL: Phoenix Amongst The Ashes
4. MORBID ANGEL: Illud Divinum Insanus
5. BLOOD CEREMONY: Living With The Ancients
6. BLACK COUNTRY COMMUNION: II.
7. CROWBAR: Sever The Wicked Hand
8. CHARRED WALLS OF THE DAMNED: Cold Winds On Timeless Days
9. LAKE OF MIND: A Condemned Soul
10. ANVIL: Juggernaut Of Justice
11. ALARUM: Natural Causes
12. DEVIL: Time To Repent
13. VEKTOR: Outer Isolation
14. VALLENFYRE: A Fragile King
15. ENTRAILS: The Tomb Awaits
16. MORBUS CHRON: Sleepers In The Rift
17. V@IN: Enough Rope
18. STEEL PANTHER: Balls Out
19. VOMITORY: Opus Mortis VIII
20. TOXIC TRACE: Torment

Viking interview with drummer Matt Jordan - part 2.

2012-02-02T10:12:00.003-08:00

The three songs of the demo made up on the debut record titled Do Or Die, at which point did you write the other tunes? How about the song composing, the song composing-process of Viking?
We wrote the songs together as we rehearsed every week. I remember playing drums on my chest as Brett wrote the riffs. We could be walking through a store, driving, hanging out, it seemed like we were always trying to come up with cool riffs. Ron wrote most of the lyrics. I did write some early stuff but it was mostly Ron who had the gift of writing the lyrics.
The album was recorded 9/87-10/87 at the Adamo’s Recording, produced by the band itself and Brian Slagel, how about the recording sessions? Were you prepared to record the material?
I have mixed emotions about the album Do or Die. We're we prepared? Yes we were. We were polished, fast, we practiced rigorously, and we had very high expectations for ourselves. Looking back almost 25 years later, I regret not having more discipline in how I played. The first song we recorded was Valhalla. I remember the engineer commenting how cool and fast the song was. I was very excited and wanted the drums to be brutal.. kick you in the chin fast. Unfortunately, the recording came across a little out of control and even too fast at times. The recording was high paced and had a since of urgency for some reason. I'm not sure what it was other than pure excitement. The album could have been so much better if we had someone in the studio with more production experience and could've reeled me in a little bit.
Most of the tracks are viciously fast with some incredible thrash breaks, correct?
The songs we wrote for Do or Die was classic speed metal. I have made it no secret over the years, that the recording is disappointing to me. I'm very thankful Viking fans over the years have embraced it as a classic thrash metal album. I have received a lot of positive feedback and appreciated all that has been said over the years. But those songs were so much better than that recording. I played those songs so fast they lost some of the detailed intricacies and cool riffs we worked so hard to perfect. I have recordings of Viking practices that blow that album away. I love the songs, I liked the album.
What do you think about, that the inevitable influences came directly from bands like Dark Angel and Slayer and this album develops its fury through 30 minutes of hyper fast and destructive brutal thrash metal the aggression is really present?
There is no doubt our influences were Slayer and Dark Angel. They were our heroes. We were so thankful Dark Angel embraced us as brothers. They were very supportive of Viking and I consider them friends. Gene Hoglan was my idol and hero. I learned a lot from just watching him. I still consider him my mentor and an old friend.
Do you agree with, that the nine songs are mostly played in a supersonic velocity, but the songs are catchy enough to turn not out to useless noise, fast pace, some slower moments, loads of riffs, catchiness and energetic vocals?
I like the speed of Do or Die on some of the songs. If I could do it again, I would like to see the speeds vary a bit. For the most part, the record is the same out of control speed which takes away from the catchy riffs and slower parts. I love all those songs and they are very special to me because they were written with passion and a love for music. I would have liked them to be more controlled and a little slower in the studio.
Do Or Die wasn't about song writing, it was about relentless speed and extreme intensity…
Do or Die reflected our mentality and view on life. We didn't care what people thought about us and wanted to produce an in your face bone crushing thrash metal record. The production sound could have been better, the tempo could have been slower.. we were young and excited to be recording. In those days, not every band had that chance to record their music. Now a days, with technology and the internet, music is more accessible and its easier for bands to record and distribute their material.
Are the guitar solos screeching in best Slayer tradition, Ron Erikssen sounds like a combination of Tom Araya and Don Doty and the whole sound is rough and unpolished?
No doubt Slayer and Dark Angel was a big influence. Bret and Ron were very fast when it came to their guitar solos. They worked hard and wanted to make eardrums bleed. I think the overall production of the album didn't give justice to how talented Ron is. Ron is a very accomplished and talented vocalist. Yes it sounds unpolished and rough, which people liked, but I think he was ripped off a little due to the fast pace and poor overall sound.
The song Warlord was featured on the The Best of Metal Blade, Volume 3, along with tracks from Slayer, Lizzy Borden, Trouble, how much did this record help the band getting newer fans?
We are very thankful for the Metal Blade compilation series. Viking has had a consistent fan base for 25 years. Metal Blade and the Metal Massacre series really helped us form that fan base.
The world-famous Dark Angel invited Ron into the studio to sing a duet with vocalist Ron Rinehart on The Promise of Agony (Leave Scars record), did it symbolize the friendship between the bands or…? How did that happen?
We were very good friends with Dark Angel. Ron Rinehart and Ron Ericksen had similar singing styles. I was not surprised when Ron participated in Live Scars. Ron Rinehart also helped us in the studio when we recorded Man of Straw.
How about the shows and touring after the release of Do Or Die? Did you give a lot of shows? Did you have the opportunity touring in Europe?
There were local clubs in the southern California area that were very supportive of Viking. We played a lot of local shows but really never made it outside the area.
The Promise Of Agony was Ron’s last recorded vocal work before becoming a Christian just three months later, correct?
I'm not sure of the time frame. I know Ron has had several studio recordings since his work in Viking. He is a very gifted and versatile musician.
At which point did you start working on the second album titled Man Of Straw?
We started writing Man of Straw right away. We had tons of songs that never even made into the studio. We were very excited to begin the recording process. Although Do or Die was somewhat successful, we knew it wasn't our best work and we were eager to get Man of Straw recorded.
Is it true, that before completing the second album, Ron became a Born-Again Christian, and thus Ron rewrote some of the lyrics on Man of Straw to be more Christian-friendly (though with the exception of The Trial, that is generally not overtly religious)?
I don't think that's true. I remember Ron rewrote some lyrics because the older style of writing was more juvenile in nature... the blood and guts and satanic lyric style didn't capture the attitude of Man of Straw. He wrote about things he liked and what challenged him in life. Great White sharks, movie set tragedies, bad relationships, and creepy TV shows... Ron had a lot freedom to write what he wanted and wasn't locked into the worn out death, blood and guts lyrics style.
Do xou consider Man of Straw an interesting album with some clear changes and concessions from the blitz of debut Do or Die?
Man of Straw was a great album. Looking back, I think it was a time of redemption from the sloppy recording of Do or Die. We used metronomes and had a concise plan when recording. Every song was planned out and rehearsed relentlessly. A lot of work was put into that album.
Was Man of Straw a step forward for this band, shows how much the band had matured since their debut?
Man of Straw was definitely a step forward. We matured as musicians and friends. We knew Do or Die wasn't our best work and were eager to redeem ourselves. We took our time and recorded in a better studio and really tried not to make the same mistakes we made when recording Do or Die.
The songs are more complex and still well structured, and the musicianship in general has improved immensely, correct?
We worked hard on the tunes for Man of Straw. I know Ron and Brett really worked hard when writing their guitar solos. Ron worked hard on keeping his gallop picking techniques tight.... I wrote the music for an entire song. Brett really helped me in construction the song Raped the Land and I was really happy with how it turned out. We rehearsed a lot and really came together as a band to make sure it was a tight controlled recording. All of us had input and I think it turned out well.
Did Man of Straw vary the tempos from song to song with some fast and furious riffing, as well as some more mid-tempo grooves?
I loved how our songs varied in tempo on Man of Straw. That is how we wrote the tunes and it reflected in the recording. Do or Die would have turned out better if we would have stuck with what we knew. Fast and furious with tempo changes and slower mosh riffs. When songs have slower breaks, the fast parts are more exaggerated and sound better.
Whose idea was covering the Pat Benatar song Hell Is For Children? Did it fit to your originals, to your own songs?
I think the motive behind the cover tune was to get radio air play. I'm not sure it worked. The song turned out good and fit the album. We actually recorded Roundabout by YES also. I remember that turned out really good although it didn't make the final cut. I would love to get my hands on that recording now. We had a lot of fun recording it.
In your opinion, is another big improvement over the debut the production, because this album was produced by Gordon Shumway pesudo name for Bill Metoyer and the production is far superior, with a great clear guitar tone, the sound is clear and sharp?
I know Bill was in the studio and contributed a lot to the project. Most of the improvement came from not wanting to make the same mistake twice. We knew we let one go when we recorded Do or Die. Those were really good songs that got away from us We knew we were better than that and wanted to live up to our potential.
In 1990, Metal Blade Records released a compilation Metallic Overdrive, an album of bands such as Viking, Heretic, Lizzy Borden, and Anvil, the Viking track featured was Man of Straw, what was the goal of this compilation? Did you find it as a good idea?
I always appreciated Metal Blade Records and their compilation series. It kept bands like Viking alive and helped the fan base increase.
Compared to the mid ’80s, thrash metal started going out of fashion, a lot of thrash bands changed their sound and songwriting, such as Slayer,Megadeth, Metallica, Dark Angel and at this point started popping up the so called funky thrash outfits, such as Mordred, Ignorance etc. how do you view it?
I never got into the newer metal bands and sounds. It was either too fashionable.. too movie prop.. and some of it was over the top fast to where you could even understand the music. As I got older, I actually started listening to older thrash bands I grew up with. Slayer, Megadeth, Metallica, and Dark Angel will always be special to me because I grew up idolizing these guys. I also got involved in the local scene and supported many local bands. Bands who weren't interested in how ugly they looked, or how evil they were, but had a lot of passion and love for the music.
Although Viking had a six-album contract with Metal Blade Records and an upcoming U.S. tour, Ron knew that his young Christianity would not withstand the temptations of the road, so he quit the band in 1990 along with you who had also recently become a Christian, would you say that this led to the band’s split? Did with only two members remaining, Viking immediately disband?
I think it was a combination of a lot of things. Brett had joined Dark Angel on a tour and left Southern California for a while. Jim is a very gifted artist and wanted to express himself there. I was engaged to be married and my priorities changed. I needed to find a full time job that could support me and my new family. Ron and I felt there was something else bigger than music and we needed to figure it out in our own way. We were very young at the time and felt the need to move out of state and melt into the working world. Viking never really officially disbanded, our priorities changed very quickly in a short period of time and we went our separate ways. Viking was, and is, very special to me. Brett, Jim, Ron and I were very close friends and I still consider them my brothers to this day.
Brett Erikssen, having replaced Dark Angel’s Jim Durkin on a world tour, joined the band full time, and released Time Does Not Heal, but what about James Lareau? Did he remain in the music business and started searching for new bands or…?
Brett had a great time and was very successful with Dark Angel. Those guys were great friends and he had a wonderful life experience. I'm not sure if Jim joined any other bands. I know he works in the art industry and is doing very well for himself.
Did your life radically change, that you became Born-Again Christian? Would you tell us more about it?
A number of years ago I came to some personal conclusions that did change my life for the better. I realized there was something bigger in this world than just me. I don't call myself religious... and I'm not dogmatic... I don't do drugs, I don't drink, I love life and love interacting with people for who they are, no matter who they are.
Ron and you had moved to Oregon, correct?
Ron and I did move to Oregon and worked for large t-shirt company. We stayed close friends and played music together off and on.
Have you watched the development of Metal after leaving the scene? Do you care at least a little bit about modern Metal?
I have followed some of the metal scene over the years. There are some bands that are extremely talented and have a passion for the music. I got interested in the local scene rather than the exposed popular bands. There are some really good loacl bands out there that will never get the recognition they deserve. I will always love and care for the industry. It is, and always will be a huge part of my life.
In 2011, Ron Daniel Eriksen and you reunited for the purpose of creating new tunes, with Brett Eriksen completely out of the music business, Viking stage manager Glenn Rogers (founding member of Deliverance, and longtime member of Hirax) joined as the second lead guitar player, what were your reasons to reform the band?
Since Viking disbanded years ago, both Ron and I have continued to play music in lots of different settings. But thrash - specifically Viking's brand of thrash - has always been our true love. It just seems to be the way our brains are wired. We love the speed, the aggression, the brutality, and the simplicity of it. As far as the reforming, we've always had a steady trickle of fan mail and requests to reunite, but they really have intensified a lot in the last couple years. Maybe it's because of the internet, but I think we may have more fans now than we did in the 80s. And one day Ron and I were talking on the phone and throwing around the "wouldn't it be cool if we got Viking back together." It just seemed to click this time around. We couldn't think of any reason NOT to do it this time.
Your bassplayer is Tyler Von Moll, did you ask James Leareau joining again at all? Is he out of the music business too?
Our first choice was certainly to have Brett and James do this. For us it was always the perfect balance of push and pull to make the best tunes we could that wouldn't be possible individually. We really wanted them to be a part of it - and still do - but for the time being, they don't seem to be interested. To his credit, James has become a very accomplished artist. If you Google "James Lareau Sculptor", you'll see some of the amazing stuff he's made. We're hoping they decide to come out of retirement one day. And Glenn and Tyler have already told us they'd be totally cool with that, because they're fans of the original Viking too.
What about the brandnew tracks compared to Do Or Die and Man Of Straw? When do you plan to record the new tracks and to release the album?
The new tracks are phenomenal. They are exactly what I always hoped the third Viking album would sound like. It's not going to be as fast from start to finish as Do or Die was, but we had already decided to notch things back to a level where people could actually hear what was going on in the music back before we recorded Man of Straw. It will be fast, and the lyrics are brutal, the riffs are heavy, and the tunes kick. As for recording, we're having some scheduling issues. The logistics of us all being adults with families and jobs and all living in opposite corners of the country has been challenging. Getting everybody scheduled together in the studio at once is proving to be difficult, but we'll do whatever we need to to get this record done as soon as possible. And when it's done, we're pretty sure everyone will say it was definitely worth waiting for.
Do you know, that Man Of Straw was re-released by Lost And Found Records several years ago? Only 1000 copies was re-released…
I was very excited to see and hear the Lost and Found Records release. I have had a lot positive feedback and I think it was an intricate part in the recent reforming of the band. Over the last few years there seems be a renewed love for classic thrash metal and an interest in Viking. We are doing our best to give what the fans loved so much in the 80's. Raw in your face thrash metal. At this point in time, it just seems right to reunite and create what we grew up with.
Do you think that both Viking records are classics and had a great influence on today’s scene?
I know people from all the world have shown a lot of respect and love for Viking. I've been told Viking albums are classics. I really don't know, I'll let other people determine that. We were 4 guys in southern California who loved speed metal and wanted nothing more than to express ourselves through music.
How would/could you sum up Viking’s short career? What were the highlights and the lowpoints?
Viking did have a short career which I think adds to the mystic to the band. I could second guess myself and wish things had happened differently. But instead I cherish the memories and loved the experience. We were all great friends who are bonded together for the rest of our lives. We created fast, brutal, ear piercing tunes that I'm very proud of. I don't think there were low points in the bands short career because we loved what we did. We had some hard times and struggled through them as friends. But our successes out weighed any difficulties we went through. We started as kids who wanted to conquer the world with relentless bone crushing thrash metal and ended as musicians who loved the experience and what we accomplished together as friends. We had the opportunity to play with outstanding bands, famous venues, made outstanding friends, and had a blast doing it.
Can you perhaps write me about the recording sessions of the new album, about the songs how are they compared to the first two Viking records etc.?
Unfortunately my hectic schedule this summer prevented me from recording the new Viking tunes. I am very thankful my friend and mentor Gene Hoglan offered to help with the recording. I have heard some rough cuts and will say it is brutal, raw, and hardcore. It won't be over produced and is as old school as it gets. If you like fast, smash mouth, hardcore thrash metal, you're going to love this recording. Ron has worked very hard on this project and it shows. Ht is very consistent with the other Viking tunes... the guitar riffs are thick and loud, the drums are fast and in your face, the vocals are raw and vicious. Fans will love this!
Thanks a lot for your answers, anything to add that I forgot to cover?
Leslie, thank you so much for your continued interest in Viking. It means a lot to us. Please let me know if there is anything else I can do to help you.

Viking interview with drummer Matt Jordan - part 1.

2012-02-02T10:12:00.002-08:00

So Matt, before Viking was formed in spring 1986, you were playing in Tracer, that included you on drums, James Lareau on bass, Ron Daniel on guitar and Spider on vocals, how did the band get together?
Tracer was in essence the beginning of Viking and was the start of something very special. Jim and I were in raw adolescent hard core garage bands. Ron was in The Hags and was already established and familiar with the club scene in Orange County California. Ron, Jim and I became friends through the music scene in that area and immediately had something in common. We wanted to express ourselves through music and become the band we always wanted to see.... a loud in your face locomotive. Tony Spider was brought in to do the demo and really never fit in. He was a good friend and helped us out. Tracer was the chance for Ron, Jim and I to become good friends. We used the time to get to know each other. We developed and matured as musicians forming a band that was very special to us.
As for your musical past/background, you were involving earlier in Barrier, Ron was the member of Hags, while James were in Lethal Gene, does it mean, that all of you were involved in the underground those times?
We were all involved in bands of some kind. I was in a sloppy garage band that really never satisfied what I wanted to do early in life. The guys I shared music with were more into playing heavy metal cover tunes, hanging out with girls and going to parties. As I developed as a drummer, those guys really couldn't keep up with what I wanted to do. I wanted to play heavier hard core songs that meant something. They were satisfied playing Iron Maiden and Black Sabbath copies then hanging out wasting time. That wasn't for me. Jim and I had mutual friends through the local punk rock scene. Jim was in a punk band and mostly played parties. Ron played guitar in The Hags and was more exposed to the club scene.
How did you discover music as a whole and at which point did you turn into the realm of metal? What were your early favorites?
Tough question... When I was 6 years old (1975) I fell in love with KISS. The attitude, smoke bombs, flames, blood... I've loved them as far back as I can remember. I've always loved music and was heavily influenced by music at a young age. When I was a kid in the late 70's I loved everything from Van Halen to Iron Maiden. In the early 80's I dabbled in the punk rock scene for a while before discovering speed metal. When I first heard speed metal I was in love... it was what I was looking for the whole time.
Being based in Los Angeles, what do you recall of the early/mid ’80s L. A. scene? Can you tell us more about it?
In the early 80's heavy metal took a turn for the worse in my opinion. At that time metal was more interested in hairspray and lip gloss than kicking your face in with killer guitar tones and out of control drum kits. I rebelled and melted into the local punk rock scene. I loved tons of bands like Sin 34, Dr. Know, and Manifest Destiny. I liked the attitude, the fast drums, cool mosh riffs, and heavy guitar tones. The problem with the L.A. punk rock scene in the early 80's is there was a division between punk rock and metal. There was almost an anti metal mentality in some punk rock circles. My problem was I had long hair but liked punk rock. I wasn't going to cut my hair or get some goofy hairdo for the sake of fitting in. For a long time, I would go to punk shows and stand in the back. I saw a lot of stupid fights because of hair length. I remember going to a GBH show at the Olympic Auditorium in LA. What attracted me to that show was the comment at the bottom of the flyer said "Heavy Metal welcome." Shortly after that I got a cassette copy of Metallica's demo. I also discovered early Slayer, Corrosion of Conformity and Artillery. I was hooked. This was what I was looking for. The heavy guitars riffs, fast locomotive drum kits, killer moshes... I was home.
Would you say, that the L. A. scene was divided into two parts, since there were the glam/hair bands (Steeler, Ratt, Dokken, Mötley Crüe, W. A. S. P. etc.) and there were the underground thrash/speed/power ones (Armored Saint, Metallica, Hirax, Sceptre, Slayer, Dark Angel, Vermin etc.)?
The LA scene was definitely divided into two parts. At the time, I really didn't care or even notice. There were certain clubs in Hollywood that attracted the heavy metal glam bands. There were a few clubs in Hollywood the thrash metal bands liked to play. I remember Ron and I went to a free Stryper show at Magic Mountain. Looking back it must have been a bizarre scene. Two thrash metal dudes with long dirty hair right in the middle of the lipstick and hairspray crowd. We were outcasts from the start. Before the first song (a ballad) was over, we were basically kicked out and ridiculed by some chick who had giant pink hair and makeup dripping off her cheeks. She had her hands on her hips and said in a snotty voice, "I suppose you like Slayer too." We laughed in her face and left.
Were the underground acts overshadowed by the hair/glam ones?
I really don't think glam bands overshadowed thrash bands. The thrash metal bands I knew didn't care what the glam scene was doing. I thought it was kind of funny. Some of these guys were more into glitter, hairspray, lip gloss and getting girls. We cared about the music. I remember Viking played the Whiskey A Go Go in Hollywood and the headliner was a local glam band. We were the last band after the headliner. I guess we were hired to clean out the club. It worked.. by the time we were done with our set the place was empty and we loved it. The club was full of hairspray that didn't know what to do with the attitude of Viking. I remember being in the dressing room and watching these guys color coordinate their clothes and wristbands. I thought it was hilarious.
Which clubs did start opening their doors for metal at this point?
Some of the clubs that were very supportive was The Whiskey, The Waters Clubs, and Fenders Ballroom. There were several clubs in the LA area that were open to having us play. Back then, some of the clubs had the band buy tickets to their show a head of time. It was the bands responsibility to sell the tickets and fill the club with people. That way the club was guaranteed to get their money. Unfortunately, if the bands didn't sell any tickets, they would be paying a lot of money to play for an empty house. That inspired a lot of bands to make flyers and advertise their shows at other concerts. We sold tickets in the parking lots and left flyers on light poles and car wind. There was no internet back then so bands depended on flyers and word of mouth to advertise their shows.
You released a demo as Tracer, how was it recorded? How would you describe Tracer’s music? How did the band sound like at all?
The Tracer demo was recorded in a studio in the Orange County area. It was good a sound for what we were trying to do. Ron, Jim and I were still getting to know each other and we were still developing our musical style. I wouldn't call it a masterpiece by any means. I remember it being an exciting time in our friendship and we were proud for what we accomplished.
Was this demo spread around?
The demo was mostly distributed in the Orange County area.
You temporarily broke up because you couldn’t find a full-time singer, but restarted after Brett Eriksen (a.k.a. Brett Sarachek) began jamming with you, and Ron Daniel (a. k. a. Brett Eriksen) began singing, how did you find Brett Eriksen? What about his musical background?
Brett answered an ad we placed in a local paper. Brett was a breath of fresh air and we immediately bonded. His writing style, attitude, and skill level was exactly what we were looking for. We had so much in common it was like we were friends for years. He was a very gifted musician and great friend.
Did you perhaps audition some guitarist besides him or was he the first choice?
I don't remember if we auditioned other people for the position. If we did, it was before Brett. Once we all played with Brett there was no need for another. This was the guy. We had so much in common it was obvious we were going to be friends and band mates.
How about the band’s name? Who came up with it? What did you want to symbolize with it?
I think we all agreed on the name of the band right away. The Viking image was very appealing to us because of our Norwegian heritage. The Vikings wanted things: coins, treasures, spices, works of art, raw materials. They probably didn't want these things any more than other cultures did..... But with their skill at sea and violent tendencies, they often found themselves in a position to take whatever they wanted. Looking back... I feel that was our attitude towards the music we created together. It worked and just fit. There was no debate about it. Viking was an attitude and the name we chose right away. We were also fans of the artist and painter Frank Frazetta. His portraits of Vikings were brutally awesome and fit our mentality. Those paintings were very inspirational in our early writings.
What can you tell us about the rehearsals of Viking? Did you start writing originals or were you jamming on covers?
Those were good times... We rehearsed at Ron's house and customized his garage with a killer drum riser and stacks of amps. We even tried to make it sound proof which really didn't work very well. Ron's mother was very supportive and loved having us. Everyone called her mom... she is a fantastic person and we loved her a lot. All the neighbors knew we religiously rehearsed every Saturday and Sunday mornings and rarely got complaints. We had a skateboard ramp in the backyard and arcade video games in the living room. It was a great place to hang out and we all called it our second home. I think we started to write original songs right away. Brett and Ron wrote most of the music. I remember walking through a grocery store with Brett and coming up with riffs and chords right in the middle of the store. I would play drums on my chest and Brett would be writing cool riffs on the spot.
Viking entered the studio for the first time to record three songs (Hellbound, Prelude/Scavenger and Do or Die) that became your first demo, do you still remember how did the recording sessions go with the demo? How much experiences did you have at this point considering recording a tape?
Nowadays its easier for bands to record demos and even full length CDs. Recording studios are now very common and for a reasonable price, a band can record their material and distribute the music via the Internet. Back in the 80's, it was not that easy to share your music. Bands usually recorded demo's in a low quality garage studio with an 8 or 16 track recorder. These were transferred onto cassette tapes and distributed through word of mouth or sold at shows. Back then, there were no CDs. If you were fortunate enough to record on a major label, your material would be on vinyl and cassette tape. Viking was very fortunate to record our first demo in a high quality professional studio. We all pitched in and payed for the project. The tapes were mass produced and given away and became popular though word of mouth. At the time we were also playing local clubs in San Pedro and Hollywood. We would hit the clubs and hand out flyers advertising our next show. We sold and gave away many cassette demos and developed a large following in the area.
Can you give us details regarding the demo?
What an exciting day. It was the first time I had a drum tech set up and tune my drums for me. He set up all the mics and made sure I was comfortable with the recording. I remember we were all driving home together listening to our recording and thinking to myself I ruined the demo. I thought I played our songs too fast and felt it was a little out of control. Little did I know, our first full length album would be almost twice as fast as our demo. It was a great experience and we really bonded as a band. Those are great memories. We were great friends who felt we captured something very special.
Did the demo fulfill the needs of the thrash metal fans?
I'm not sure I would say our demo fulfilled the immediate need of metal fans. There were a lot of great bands at that time. We were very fortunate to be good friends with Dark Angel and played several shows with them. They were a great influence on us and we considered them our big brothers in the industry. I think our demo became more popular after the band split. We were very lucky our demo played a small part in the huge history of the LA metal scene.
Tape trading was huge in the 1980's speed metal scene, so fanzines began to brand this cassette as essential for every collection, and orders from all over the world began to come in the mail daily, would you say, that the demo helped to expand the band’s popularity in the underground?
It definitely helped expand the popularity of Viking. After the band dissolved, I think our fans craved more and discovered the demo later. It was a raw kick you in the head recording that is very appealing to fans. I'm honored people still love and ask about it. It was great time in the history of Viking.
Viking also appeared on Metal Massacre VIII with a song titled Hellbound, was this the choice of the band or of Brian Slagel? How did you get the chance being
featured on this legendary compilation?
It was an honor to be featured on Metal Massacre. I'm not sure who picked the song Hellbound for the LP... but it was good choice. It had killer riffs, shredding guitar solos, heavy drums, a smoking hot bass tone, and head pounding vocals. It encompassed all that Viking had to offer and was a good example of what our material stood for. We owe a lot to Brian Slagel and his loyalty to our music.
Was it a good opportunity to draw more fans attention to the band?
It was a great way to expand the popularity of Viking. For the most part, our exposure was limited to the southern California area. This was setting the stage for our full length album that would hit the shelves a short time later.
Do you agree with, that the Metal Massacre compilation series from Metal Blade Records has launched the careers of many bands, including Ratt, Slayer, and Metallica? Was/Is the label (Brian Slagel) very supportive of the underground?
I absolutely agree with the Metal Blade compilation series and the part it played in the success of many bands. It was a great way for talented bands to share their music. It's a different world now a days. With internet access, it's a lot easier to hear bands from all over the world. Back then we depended on major labels like Metal Blade to record and distribute songs from somewhat unknown bands who deserved to get their material produced. I appreciate Brian and Metal Blade in what they did for Viking. It was a great start to some great memories I'll cherish for the rest of my life.
Did the demo generate some buzz from Metal Blade Records that resulted in your signing and the release of the debut Do Or Die? Is it true, that the band signed a record contract after completing their second live appearance?
The demo definitely had some buzz around it. I'm sure it had something to do with our eventual signing with Metal Blade. I know Brian was at one of our early shows at the Whiskey in Hollywood. I'm not sure if it was our second show or not. It just proved you never know who is out there to watch and listen to your band.
The cool logo of the band was drawn by you, wasn't it?
Yes I believe I came up with the logo. Nothing too glamorous... I remember working for a trashy phone soliciting company and just sat there and drew pictures all day. Instead of making cold calls, I would draw pictures on the back of the cards. I still have some of the old calling cards with Berserkers... axes.. swords.. skulls.. whatever.. I drew the logo as if it was cut from stone then put the Viking horns on each side. We loved it right away and it stuck until this very day.

Viking - Cult american thrash band

2012-02-02T10:12:00.001-08:00

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Morbid Angel, Necrophobic, Benighted, Nervecell - Illud Divinum Insanus European Tour - Budapest, Club 202 - 2011. 11. 27.

2012-02-02T10:12:00.000-08:00

MORBID ANGEL
NECROPHOBIC
BENIGHTED
NERVECELL

Szokásomhoz híven ideje korán (két órával kapunyitás előtt) érkeztem a klubhoz és meglepve konstatáltam, hogy rajtam kívül írd és mond egy szál emberke toporgott a hidegben. Gondoltam, később csak megérkezik a rajongók hada, de nem, ¾ 7-kor nagyjából 30-an mentünk be a klubba.
A helyzet az, hogy nagyon gyér volt a koncert látogatottsága. Saccra negyed ház (kb. 200-250 fő) lehetett, amelynek véleményem szerint (egyik) oka a floridai death metal veteránok idei, a rajongótábort alaposan megosztó, Illud Divinum Insanus műve volt/lehetett. Feltételezem, sokan azt hitték, hogy a csapat erre a lemezre fekteti majd a hangsúlyt, amolyan lemezbemutató buli lesz, pedig nem az volt. De erről majd később.
Egy-egy nagyágyú előtt hálátlan szerep az elő zendkar szerepét betölteni, főleg akkor, ha egy relatíve ismeretlen csapatról van szó. Annak ellenére, hogy a dubai illetőségű NERVECELL 1999-ben alakult, csak idén került be az európai underground köztudatba második, Psychogenocide lemezüknek köszönhetően. (Webzine-ünkön amúgy Dehumanizer kolléga méltatta a korongot szeptemberben). Roppant kevesen voltak rájuk kíváncsiak, ettől függetlenül a kvartett mindent megtett annak érdekében, hogy maguk mellé állítsák a fanatikusokat, illetve, hogy megalapozzák a buli alaphangulatát. Brutális, technikás, floridai és európai hatásokkal egyaránt tűzdelt death metaljukat viszonylag hosszú dalok (pl. All Eyes On Them, Vicious Circle Of Bloodshed) formájában vezették elő, úgyhogy annak, aki először hallotta/látta a bandát (mint jó magam) feladták a leckét a zene befogadását illetően. Az mindenképpen lejött, hogy felkészült, technikás zenészek alkotják a tagságot, Rami H. Mustafa és Barney Ribeiro gitárosok az intenzív riffeket, itt-ott dallamokkal, szaggatott témákkal kombinálták, feszes, precíz, pontos műsort vezetett elő a banda. Jó benyomást tettek rám.
Másodikként a francia BENIGHTED következett. Nevükre emlékeztem, mivel annak idején hallottam Insane Cephalic Production lemezüket, de a muzsikát, ha agyon ütöttek volna sem tudtam volna felidézni. Öreg motorosoknak tekinthetők ők is, hiszen 1998 óta léteznek, ettől függetlenül/ennek ellenére nem hiszem, hogy komoly hazai rajongótáborral rendelkeznének. Suffocation, ős Cannibal Corpse hatású death metaljukban grind tempók, blastbeatek éppúgy találhatóak mint dallamok, groove-ok, mely utóbbi arra engedett következtetni, hogy a mai modern színtér sem hagyja őket hidegen. Becsülettel daráltak, tekertek, Julien Truchan énekes mezítláb nyomta le a műsort, valamelyest sikerült a jelenlévőket megmozgatniuk, bennem azonban nem hagytak mély nyomot.
A klasszikus svéd death metal intézmény a NECROPHOBIC a jelen underground színtér egyik legjobb, legmegbízhatóbb alakulata. Véleményem szerint a másodgenerációs svéd death metal hullám legjobbjai, korai lemezeik egyértelműen a műfaj klasszikusai közé sorolandók. Műsoruk tetszett, azt azonban mindenképpen meg kell jegyeznem, hogy a brutális, de tiszta hangzás (ez egyébként mindegyik csapatra jellemző volt, semmiféle probléma sem volt a megszólalással) elvette azt a jellegzetes klasszikus svéd ízt, soundot, dallamokban, harmóniákban gazdag muzsikájuk nem úgy jött le, mint lemezen. Bő háromnegyedórás programjuk gerincét a Hrimthursum korong szerzeményei (The Slaughter Of Baby Jesus, Blinded By Light, Enlightened By Darkness, The Crossing, Age Of Chaos) alkották, egy dal erejéig (Taste Of Black) megidézték a Bloodhymnst, három tétel (For Those Who Stayed Satanic, Celebration Of The Goat, Revelation 666) hangzott el a Death To All-ról, míg a múltat (értsd korai időszak) csupán egy szám (The Nocturnal Silence) képviselte. Értelemszerűen rájuk már többen voltak kíváncsiak, mint az előző két zenekarra, ami nem csoda, lévén ismertebbek, jobbak és többet tettek le a death metal színtér asztalára, mint a Nervecell és a Benighted együttvéve.
Szerintem nagyon sok MORBID ANGEL fanatikus fejében megfordult, hogy mi lesz kedvenc csapatukkal, ki lesz az új dobos, amikor kiderült, hogy Pete „Commando” Sandoval porckorong kopása miatt nem tudta feljátszani az új korongot. Amikor értesültem a hírről, hogy Pete helyett Tim „The Missile” (rakéta) Yeung lett az új ütős elégedetten dőltem hátra, hiszen tudtam, hogy szemernyi csalódást sem fog okozni. Nemcsak a lemez, hanem a Club 202-ben átélt, letaglózó, gyilkos másfél óra is bizonyította, hogy Tim Yeung napjaink egyik legjobb dobosa, játéka pedig nemhogy nem hagyott kívánnivalót maga után, hanem lenyűgözött. Ahogy fentebb utaltam rá, a show nem az új anyag bemutatója volt, a csapat egy olyan szettet adott elő, amely minden Morbid Angel rajongó igényét kielégítette, nem hiszem, hogy valaki is elégedetlenül távozott volna a helyszínről. Tulajdonképpen le se kellene írnom a látottakat/hallottakat, elég lenne felsorolnom a setlistet. Maga volt az őrület a műsor, a death metal legfelső szintje került prezentálásra aznap este, a hangulat pedig olyan volt, mint az intenzívosztályon: eszméletlen. Az Immortal Rites-szal nyitottak és onnantól kezdve nem volt megállás, egymás után jöttek az olyan alapvető death metal klasszikusok, mint a Fall From Grace, a Day Of Suffering, a Blasphemy, a Maze Of Torment vagy a Lord Of All Fevers And Plague. Kell-e valamit ehhez hozzáfűznöm? Esetleg annyit, hogy az Altars Of Madness-hez hasonlóan a Covenant album felét is eljátszották, az Angel Of Disease és a God Of Emptiness nélkül gyakorlatilag elképzelhetetlen egy Morbid Angel koncert. A rend kedvéért, a Rapture, a Blood On My Hands és a World Of Shit (The Promised Land) csendült fel a Covenant-ról. Azt viszont a mai napig nem értem, hogy a Domination-ről miért csak a Where The Slime Live és a ráadásban előadott Sworn To The Black fér bele a repertoárba, személy szerint nagyon szívesen vettem volna az Eyes To See, Ears To Hear-t, ahogyan a Thy Kingdom Come-ot is, de ez legyen az én gondom, nem igaz? Mindenképpen meglepetés volt a Bil Ur-Sag felbukkanása a Formulas Fatal To The Flesh-ről, lévén azon nem David Vincent énekelt. Mindösszesen két dal (Existo Vulgoré, Nevermore) képviselte az új anyagot, tehát az új album death metal(os) szerzeményei. (Kötözködés: eljátszhatták volna a Blades For Baal-t is). Ahogy Milán Péter barátom még 1997-ben a Psychotic Waltz koncert beszámolójában említette, nem lehetett olyat kiemelni ezen az estén, hogy a legjobb nóta, mert itt mindegyik a legjobb nóta volt. Trey Azagthoth és Thor Anders Myhren, alias Destructhor átszellemülve, magukat egy az egyben átadva a muzsikának pengették a klasszikus, death metal mérföldköveknek számító riffeket és szólókat, David Vincent énekes/basszusgitáros jókedvűen, szimpatikusan irányította a műsort, Tim Yeung pedig… Ahogy már utaltam rá, elképesztően játszott, a 150-160 cm, kerti törpe alkatú srác valóságos dobbemutatót (headbangelt, ujjai között forgatta a dobütőt stb.) adott elő. Mellesleg aznap ünnepelte 33. születésnapját, melynek tiszteletére David Vincent előadta a happy birthday örökzöldet. A ráadásban a Chapel Of Ghouls klasszikus adta meg a kegyelemdöfést, a beteg angyalok pedig diadalittasan vonultak le a színpadról. Nem vitás, hogy az év egyik legjobb koncertjét láttuk az egyik legmeghatározóbb zenekartól.

Nokia 5610 Xpress Music - Enjoy Music on the Move

2012-01-09T06:59:00.000-08:00

The Nokia 5610 is enriched with some new music features including FM radio, real time equalizer with sound image, dedicated music keys and music chips. The handset is high on music capabilities as it produces very impressive sound effects. Besides that, this 3G enabled handset is infused with high-end connectivity options and powerful imaging features.

The fashionable slider phone comes with unbelievable sound quality that impresses the users. The dedicated music keys and music features allow the users to access the music player easily and quickly, even on the move. The users can enjoy listening to music in different music formats such as MP3, MP4, AAC, eAAC and WMA. The dedicated music chip in the Nokia 5610 Xpress Music allows the users to experience clear sound quality. Moreover, the users can enjoy sound images while listening to music, as the handset comes complete with sound controls in the real time equalizer. For the latest on music, news, sports or weather, one can tune into their favorite FM radio stations.

On a 2.2 inch high-quality screen, users can view play lists and display albums of their choice. Not only this, the high resolution LCD screen of the phone provides 16 million colours for displaying coloured images and useful music information. Other important multimedia functionalities of the phone include a 3.2 megapixel camera and advanced 3D games. The camera of the phone allows the users to capture clear and colourful still as well as video clips. The camera comes complete with two-way capture key, dual LED flash, 8 x digital zoom and video playback facilities.

This 3G enabled mobile phone enables the users to access e-mail services, anytime around the clock. On this handset, users can enjoy receiving & sending emails complete with file attachments. The integrated audio messaging service allows the users to share voice, music and other sounds with other compatible devices.

Last but definitely not the least, the users can enjoy high-end connectivity features such as wireless Bluetooth, Micro USB, GPRS and HSCSD on the Nokia 5610 Xpress music.

Music Business Classes Can Help You Succeed in the Music Industry

2012-01-09T06:57:00.001-08:00

Whether you want to land a job in the music industry or to learn how to manage your personal musical career, enrolling in music business classes can help you learn the essential information and skills you need to make it in the tough and competitive world of the music industry.

In the past, there weren't any schools that offered courses about the music business. Most of the people who made it big did so by going out and learning from their mistakes as they went along. Far more are the talented musicians who never made it big because they couldn't jump-start a legitimate music career. You can also take these classes if you're not a musician but you have a great appreciation for music, and have realized the industry's potential.

The best place to learn about the music business is a music school that offers hands-on training in music marketing and record promotion, music publishing, music contracts, and personal management. Their programs can include internships where you can learn how to bring a real independent artist to the market and set up and operate your own record label. You can even enroll in fun elective classes like the Business History of The Beatles, Introduction to Music News and Industry Trends, Success Stories of The Stars and many others.

Instead of trying to make it on your own, enrolling in music business classes will prove to be very helpful and more economical in the long run. Aside from the fact that you learn the technical aspects of the music business, courses like these can help you get hands-on experience and connections with professionals who have already made it in the music industry.

Musicians Institute (MI) offers music business classes that provide students with hands-on training to equip them with real-life skills and knowledge about the ins and outs of the music industry. When music schools that offer contemporary music instruction were nowhere to be found, MI broke new grounds in music education when it started as an intensive, contemporary, and groundbreaking guitar program in 1977.

The Best Social Networking Sites For Country Music

2012-01-09T06:56:00.001-08:00

Country music has among the most loyal fans of any music genre. More than that, for many, country music is a lifestyle. So a music social network brings together people who share more than just musical taste; they share a way of life.

Digital Rodeo (www.digitalradio.com) bills itself as having been the first social network dedicated to the music scene. It offers videos, music and exclusive interviews with artists as well as a "neighbors" - fellow country fans.

The DH Network (www.thedhnetwork.com) began as a hobby site then expanded to encompass four country related web sites. CMNB - Music News Blog; Country Concert information including tour dates, setlists, and opening acts; DH Country Music which features independent and small-label artists; and DH Family, a music social network.

Country fans Rick Burgess and Greg Roth, created My Country Space, (mycountryspace.com) a gathering spot for country music enthusiasts. The site was also designed for the music lifestyle. The founders spent three years researching what fans wanted in a social networking site dedicated to music. The site was designed to enhance the experience for all users. My Country Space is similar to sites like MySpace and Facebook in that its features include e-mailing, blogging, messages and photos. The site also breaks down membership into titles such as artist, management, promoter and songwriter so members can identify other members and see what they do.

Members can create special-interest groups on the site and new recording artists will have access for promotion of their music to site members.

How to Find The Best New Music for Your Car Audio

2012-01-09T06:55:00.001-08:00

Music brings everyone together. But there are times when we feel that the music we're listening to is old and boring, like we've been there and done that. We want new music, new adventures, new perspective. So we set out to explore a vast expanse of new artists, songs, and genres. It can be overwhelming. Here's how to be organized and find the best of the best.

1. Read: Spinner, Rolling Stone, and most other small publications offer music reviews. These can help you broaden your horizons and get a better sense of what is hot at the moment.

2. Internet: Sites like MySpace still cater to the musical crowd, but if you want to become familiar with artists who you may like immediately, without doing the research, sites like Pandora and Last.fm play music similar to the artist who you identify. iLike also works well because it works in tandem with...

3. iTunes: Downloading the latest version of iTunes will help to refamiliarize you with old music that you might have forgotten. Newer software is smarter, faster, and more reliable. To increase the likelihood that you hear songs you like when you put it on shuffle, rate the songs, or comment on the artists.

4. Car: When you're listening to mobile audio, you get a good sense of what sounds good coming from your car audio subwoofers. It doesn't just depend on how hard your car audio amplifiers are working, it also matters how many heads you turn as you cruise down the street. Plus, when you're listening to music in your car audio, you are taking advantage of the perfect music listening opportunity.

5. Blogs: Subscribe to music blogs like Stereogum for indie and alternative new tunes, and Pitchfork, for a wide array of the best new albums and tracks. You'll hear all about the latest music news and the coolest new bands.

6. Shows: Once you find new bands that you like, try going to their shows. Since they're still up and coming, tickets are usually cheap, and you'll meet other music enthusiasts who want to talk about tunes and local artists.

Music is the universal language. You can be in another country and hear songs in English, or you can hear songs in the native language and really dig them. While music always changes, your favorite songs usually stay the same, and there's nothing better than hearing that song you always used to listen to, and have it flood your mind with memories of that long past era. So keep looking and keep listening. Knowing all the newest tunes will develop your ear, and make you cooler. Plus, it will make you new friends and lasting new memories.

Classic Rock + Heavy Metal

2011-12-02T22:50:00.000-08:00

CLASSIC ROCK was originally conceived as a radio station programming formula which evolved into the album oriented rock (AOR) format of the early-1980s. In the United States, this rock music genre now features a large playlist of songs ranging from the early-1960s through to the early-1980s with more emphasis on the core albums, artists, and songs most often represented by the subset of recorded catalogue that was popular during the so-called original classic rock era (1964-1975) when rock and hard rock dominated the charts. British hard rock and progressive rock bands make up the central pillar of classic rock artists; significant among these are Led Zeppelin, ELP, The Who, Genesis, Pink Floyd, Jethro Tull, Yes and Queen.

Concept albums indirectly led to the album-rock format and remain a major component of classic rock. American-bred 70s rock acts such as Aerosmith and REO Speedwagon, Toto, Heart, Rush, Boston and Journey often appear on classic rock radio stations. Also included is late 60s rock from artists like Santana, Free, Jimi Hendrix, Procol Harum, Jeff Beck and Cream. In many areas, Southern rock, notably that of Lynyrd Skynyrd and ZZ Top forms a significant subset of classic rock programming as well. Other classic rock playlists also include some of the hard-rock/heavy metal bands of the 1980s such as AC/DC, Guns N' Roses and Van Halen as classic rock. While new generations of fans are drawn to the most enduring classic rock songs and artists, similarly, more modern material by bands such as U2, Nirvana, Pearl Jam, R.E.M., Soundgarden, Foo Fighters and The Red Hot Chili Peppers has proven to appeal to generations of older listeners.

HEAVY METAL (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s. With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, heavy, guitar-and-drums-centered sound, characterized by highly amplified distortion and fast guitar solos. Of all popular music forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality. Heavy Metal has long had a worldwide following of fans known as "metalheads" or "headbangers". Although early heavy metal bands such as Led Zeppelin, Black Sabbath, and Deep Purple attracted large audiences, they were often critically reviled at the time, a status common throughout the history of the genre. In the mid-1970s, UFO and Thin Lizzy reigned supreme while Kiss and Judas Priest helped spur the genre's evolution by discarding much of its blues influence.

The New Wave of British Heavy Metal followed in a similar vein with Iron Maiden and Motorhead, introducing a punk rock sensibility and an increasing emphasis on speed. In the mid-1980s, pop-infused glam metal became a major commercial force with groups like Motley Crue, Poison and Bon Jovi. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Anthrax and Megadeth, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of funk and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

Alice Cooper Will Scare You To Death On Welcome 2 My Nightmare And Leave You Begging For More

2011-12-02T22:48:00.000-08:00

ALICE COOPER - Welcome 2 My Nightmare
Universal Music

Listening to Alice Cooper's diverse vocal range and musicianship is like watching a mélange of horror and drama inspired movies. Try to imagine all of this, but within the auditory spectrum side of things and it is quite out of this world. How does Cooper make all of this possible without losing his identity or without compromising his rich vocal delivery?

Well, here lies the truth, and it's going to blow your mind, no kidding, people. Alice's newest and greatest release (in my opinion, at least) is a strong collection of all of his musical influences from the time he began his career to the present day. "Welcome 2 My Nightmare" is such an unpredictable album that each track could be from another album of his but with a modern day twist. Now this is what I call sheer musical and songwriting brilliance.

It is Cooper's creative ability to blend metal, rock, funk and pop rock styles fused into one concoction of rock wizardry, which makes listening to this album kind of like riding a lengthy roller coaster with limitless highs and lows.

However, it should be noted, any listener expecting 14 tracks of pure heavy rock and metal will be disappointed with Cooper on "Welcome 2 My Nightmare" as this record is as musically and vocally as diverse as it gets with the way Cooper drives the point home with his vocals and songwriting talents on this one.

As mentioned above, this record has a whole myriad of influences ranging from rock, metal and pop rock.

Opening track "I am Made Of You" is a melodic rocker despite its grotesque name, but it is a memorable song with so much oomph, you'll let loose, bang your head and rock out like there is no tomorrow to its catchy choruses.

"Something To Remember Me By" is a stellar display of Cooper's The Beatlesque vocal delivery and the music too is quite reminiscent of that early 70's style made popular by the likes of The Beatles, The Rolling Stones and The Doobie Brothers.

With "Disco Bloodbath Boogie Fever" you might as well be on the dance floor shaking your behind while totally immersing yourself into this disco and boogie flavored number. "Ghouls Gone Wild" was a cool track with its 1970s, creepy, horror inspired TV animated series-like approach, which kind of reminded me of The Munsters and Groovie Goolies cartoon from 1970/71.

Having also worked with long time collaborator, friend and record producer, Bob Ezrin, Cooper has surely given "Welcome 2 My Nightmare" a superb depth in creativity, musical direction and sound production. "Welcome 2 My Nightmare" was produced by Ezrin too, so the sound and the overall production rocks with a lot of fire.

Again, if you are expecting this record to be a total onslaught of heavy as hell guitars and heart thumping drum antics, you will be greatly disappointed as this is more of a classic Alice Cooper release with tons of rock sensibilities of today and yesteryear. I am quite sure Cooper will be having a huge stage production for this release, which he is also known for, and gives his audience a real auditory and visual bang for their hard earned cash.

Ancient Rituals Are Reenacted in Modern Rock Concerts

2011-12-02T22:46:00.000-08:00

Mythology, in ancient times, was in many ways the psychic glue that held cultures together. It gave them identity, and endowed their people with a sense of spiritual community. It's hard for any of us who're alive today to really envision what life under a functioning and life-giving mythology was like. The spiritual communion of the West has received some grievous blows, most notably during the Industrial Revolution and in the years since. But our psyches and souls instinctively need - and gravitate towards - the nourishing symbols and archetypes of myth. This is the reason why so many of the motifs of ancient rites find their echo in the rituals (particularly among the young) of the modern day. One prominent example is rock concerts.

The Greek playwrights believed that the greater the suffering depicted onstage within their tragedies, the greater the emotional catharsis their audience would experience. In the modern age, we've long pursued a love affair with tormented artists - gifted and doomed - amongst our painters, poets, writers and musicians. Onstage at a rock concert, the existential struggles of the performer are played out for all to see. And perhaps we unconsciously expect the self-destruction that so often occurs as a culmination. It is the fulfillment of the age-old fate of the tragic hero.

Modern music has revived many of the symbols and story arcs that lay at the heart of ancient rituals. This is especially true of Heavy Metal and its extreme subgenres. Here we often find lyrical content replete with magic, the supernatural, the demonic and the angelic. This can all be seen as an attempt the demarcate the bounds of our reality. How high can man rise - and how far can he fall?

It's interesting to note, too, that loud and aggressive music often attracts boys nowadays during the same period of life that served as the prime initiatory moment in old tribal cultures: adolescence. The raucous sounds of rock's various genres have always served to outrage and alienate the older generations. This, too, bears resemblance to tribal initiations where a young boy would be forcibly separated from his parents (particularly the mother), immersed in the lore and mythology of the tribe, and then reintroduced to the community with a new identity and name. Nowadays, no one comes to abduct the young from the nest, so kids often use music to achieve the same outcome, keeping the older generation bewildered and distanced while they struggle for their own sense of identity.

Our overly rationalistic culture has divorced us from our primal roots. Rock music is the sound of instinct and primacy reasserting itself. And rock concerts, at their best, signify both the invocation and the celebration of those forces. They are as close as young people can typically come to the life-giving sacred rites of ancient times.

Actual playlist

2011-12-02T01:45:00.000-08:00

1. MORBID ANGEL: Altars Of Madness
2. ALARUM: Natural Causes
3. DEVIL: Time To Repent
4. LAKE OF MIND: Condemned Soul
5. CYNIC: Focus
6. TROUBLE: IV.
7. SLAYER: South Of Heaven
8. ANVIL: Juggernaut Of Justice
9. MERCYFUL FATE: Melissa
10. IMMORTAL: Blizzard Beasts

Top 3 Guitar Magazines To Help You Teach Yourself Guitar

2011-11-13T03:05:00.000-08:00

There are many different ways that you can get lessons that will help you teach yourself guitar. There are guitar magazines, dvd's, cd's, books, tablature, online membership sites, teachers and probably a dozen other methods that I haven't even thought of. One of the oldest and most popular ways is the use of guitar magazines. You can find many of these magazines at your local bookstore, grocery store or corner/convenience store. Most of them will contain lessons, gear reviews, album reviews, interviews with guitar players and some even throw in a cd or dvd that have video lessons and gear demonstrations. If you really like a particular guitar magazine, subscriptions are available at discounted yearly or more rates.

So which one is the best? Well that depends on a few things:

1. Where you are in your guitar playing? Beginner, intermediate or advanced?

2. What style of music are you into? Hard Rock, Heavy Metal, Blues, Country etc.?

3. What do you want more of in your guitar magazine? Tabs, lessons, gear reviews?

Before you go running off to your local magazine stand to look for a magazine that's right for you, check out the following list that I have put together for you of 3 of the best guitar magazines that are available today. Please keep in mind that these are my choices of the top 3 and depending on your taste, you may think another publication is better. But at least this list will give you a head start and you don't have to thumb through every magazine on the rack.

Guitar World:

Guitar World is one of the most popular monthly magazines on the market and contains guitar and bass tablature of around five songs per issue. The lessons are directed at beginner and intermediate players and most of the lessons, tabs and interviews are in the Hard Rock and Heavy Metal genres. The subscriptions are available at a pretty hefty discount and you can also upgrade your subscription and get a bonus cd-rom with each magazine. These cd-roms will play video lessons, gear demonstrations and music from some amazing guitarists. For more information check out http://www.guitarworld.com.

Total Guitar:

Total guitar is a monthly magazine from the U.K. and is the most popular guitar magazine in Europe. This is in my opinion the best magazine for beginner guitarists. Don't get me wrong, there are lots of lessons for guitar players of all abilities but Total Guitar focuses mostly on the novice. The mag has a nice variety of tab for Hard Rock, Heavy Metal, Blues, Punk, Country and Folk, so there is something for everyone. Another great thing about Total Guitar is that unlike most guitar magazines, they don't focus on articles and expensive gear but focus on teaching beginner guitar players how to play properly.

Each magazine also comes with a free cd that contains audio examples of the lessons and best of all, backing tracks for all the tabs. These backing tracks are great because they have the guitar parts missing so you can jam along with the song just like you were playing with the band.

Guitar Techniques:

Made by the same company that makes Total Guitar, Guitar Techniques is also a top-notch magazine. Guitar Techniques also has a massive amount of lessons that are spread out along many genres including Rock, Heavy Metal, Blues, Jazz and County. This magazine specializes in guitar instruction and it shows. You also get a cd with the backing tracks for the tabs and lesson examples.

Best Heavy Metal Guitar

2011-11-13T02:59:00.000-08:00

There is hardly anyone who has never experienced the thrill and ecstasy generated by rock bands and rock artists. It is very common for guitarists to get associated with their favorite guitars - for instance, Jimi Hendrix and his Fender 60s reverse Headstock Stratocaster or Jimmy Page and his Gibson Les Paul Classic. Rock guitars have been evolving and continue to do so along with artists and their styles. If you are looking to buy the best heavy metal guitar, you should go for a guitar that suits your style and you are comfortable with it - there is no single "best" guitar that everyone would like.

If you are just starting to learn, you don't need an expensive guitar to begin with; you should go for an average affordable student guitar offered by an established brand. It will be simple to use and with good playability and resale value; for example, Fender's Squire Bullet.

There are several guitar makers - some are history makers, highly respected and well known; others are hardly known or just copy cats. But you should keep your requirement in mind, unless you are obsessed with some particular maker or model.

Gibson and Fender are known for excellent quality with lofty price tags. While Gibson are world renowned for their most famous guitar - les paul; Fender have their most recognizable models - Stratocasters or simply "strats", which are great for jazz and blues. There is no need to despair if can't afford to buy from Gibson or Fender. You have several options at significantly lower prices if you select a model from Stellar, ESP, Epiphone, Heritage, etc - your purpose will definitely be served.

Ibanez guitars are also great for heavy metal playing. The pickups used for many models are humbuckers which produce a distinct mellow and dark sound. On top of good looking designs, Ibanez guitars do not come at a hefty price and are very affordable to the masses.

If you are attracted by exotic and unique shapes, then your best heavy metal guitar exists with BC Rich. Their "The Warlock" model also has a see-through model - you can actually see through the guitar body! But make sure to buy only the made in USA model and stay away from the pesky China made stuff.

There is plenty of choice available to you and you have absolutely no reason to settle for an unsuitable guitar model. The only important thing is to know what exact you are looking for.

Top 20 Guitarists Of All Time - Guitar Players

2011-11-13T02:56:00.000-08:00

It was a dark and rainy night. The courthouse clock struck midnight; a stray dog howled. It was all too beautiful when the staff of Gear Vault convened for their semi-annual secret meeting with the confines of the beloved cinder block chamber they call their "office." Their agenda? To decide the 20 most important people in guitar.

1. Jimi Hendrix

Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix's innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix's meteoric rise in the music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang. Hendrix was the revolutionary guitar god, enuff said!

2. Edward Van Halen

Edward Van Halen once likened his guitar playing to "falling down the stairs and landing on my feet." Eddie's had thirteen albums' worth of such happy accidents and in the process has changed the way people play, hear and think about the electric guitar. With his unorthodox technique, dare-devil whammy bar antics and fearless experimentation, Van Halen revitalized heavy guitar after it had run its course in the Seventies. Espousing an I-just-play-that's-all-I-do attitude and favoring basic gear like stock Marshalls. Peavey 5150s, homemade, slapped together guitars and simple, minimal stop box effects, Van Halen became guitar's greatest hero by becoming its unassuming anti-hero.

From the jaw-dropping gymnastics of Van Halen's "Eruption" to the eerie, tidal crescendos of "Catherdral" on Diver Down, through his 1984 chart-topping synth experiments and spirit of 5150 and For Unlawful Carnal Knowledge, Eddie has remained innovative throughout his career. Never one to wait around for the electrician, Van Halen prefers building his own gear-and if it doesn't always look pretty, well, beauty is in the ear of beholder. By "Frankensteining" his first striped guitar from $130 worth of parts, Van Halen launched his quest for the elusive "brown sound-"big, warm and majestic"-and gave rock guitarists a new holy grail of tone to seek in the post-Jim-my page era. His single-pick up and volume control innovation changed the way guitars looked and sounded, popularized the previously obscure Kramer Guitars, and inspired the do-it-yourself guitar gear industry. Eddie's custom-designed Peavey amps and his with Sterling Ball on his Music Man guitars prove that Van Halen still believes the artist should retain creative input on his equipment.

As a player, Van Halen single-handedly-well, dual-handedly-introduced millions of rock players such exciting techniques as two-handed tapping and harmonics. Before 1978, guitar just had to be loud and fast. Eddie's playing is also tasteful and always in context, a fact that distinguishes him from his legions of imitators. While he's unimpressed by the copycat syndrome, it cannot be denied that many players first picked up a guitar after Van Halen's dazzling licks. But none of them can fall down the stairs with such brilliance.

3. Eric Clapton

Eric Clapton has successfully reinvented himself dozens of times: Rave-Up King with the Yardbirds; Holy Father of the Anglo-blues with the Bluesbreakers; free-form improvisational genius with Cream; chameleon rises to every musical occasion.

By 1965 the 20-year-old Clapton was already a legend. He'd introduced the blues to the masses, interpreting and updating what had been a largely unknown form for the rock generation. Simultaneously, his lush, Les Paul-driven tone marked the absolute turning point in the history of rock, transforming what had been a good-time twang instrument into a vehicle for profound expression.

Ultimately, the most enduring image of the great guitarist will be of Clapton the bluesman, standing on a corner of a stage and exposing his psychic wounds to the masses. It is interesting, though, that, while "bluesy" in feel, his most memorable songs-"Layla," "Tears In Heaven"-do not utilize the blues structure.

While most of Clapton's contemporaries talk reunion and revival, he never retreats behind memories of his "good old days." His Unplugged album, which was enormously successful-both for him and acoustic guitar manufactures-included a radical remake of "Layla." Clapton is one artist who has learned how to grow up.

4. Paul McCartney

Paul McCartney has spent very little of his career playing six-string guitar. But as a bassist, he almost single-handedly made guitar players' jobs a whole lot easier.

When the Beatles first arrived on the scene, rarely was the bass even heard on most pop records; players seldom attempted anything more adventurous than a root-fifth accompaniment. But McCartney, who not only played bass, but sang, enlivened the Beatles' material with dynamic, moving basslines on his famous Hofner and, later, a Rickenbacker 4001. By the time the Beatles began work on Sergeant Pepper's, McCartney as pumping out bass melodies that carried entire songs, with the result that the Beatles' guitar parts often became sparser, more subtle. Within months-and to this day-bass players the world over were unshackled.

5. Pete Townshend

Before Pete Townshend came along, feedback was something guitarists shunned like halitosis. Pete turned it into one of rock guitar's most powerful sonic resources.

Soon after The Who debuted in 1964, Townshend became legendary for violently slamming his guitar into his Marshall stack (a form of amplification he was the first to use) and smashing his instrument to splinters at the end of each show. All of this had a profound influence on Jimi Hendrix (aka The Guitar God #1) and just about every other rocker who ever picked up a guitar. Pete's trademark "windmill" strum was actually swiped from Keith Richards. But Townshend made it even bigger and more dramatic-which is what he and The Who did with just about everything they touched. Having mastered the art of the three-minute pop song, Townshend turned his attention to 15-minute mini-operas and, with Tommy in 1969, the worlds first double album rock opera. Townshend's songwriting genius and theatrical flair tend to obscure the fact that he is also a fine guitarist, as capable of supple lyricism as he is of angry mayhem.

6. George Harrison

When George Harrison strummed his first chord during the Beatles' historic appearance on the Ed Sullivan show 44 years ago, he became the catalyst for the electric guitar's metamorphosis from stringed instruments to tool of teenage liberation. And, as the folks at Gretsch and Rickenbacker will readily attest, it didn't exactly hurt sales, either.

While Harrison has never been a virtuoso guitarist, he was an innovator-constantly pushing the limits of studio sounds and stylistic boundaries. In many ways, he also was the first modern session musician, his chops as diverse and far-reaching as Lennon and McCartney's songwriting. He could dish up brilliant Scotty Moore-style rockabilly ("All My Loving"), heart-rendering gut-string lines ("And I lover") and sheer fuzz and fury ("Revolution")-always adding something memorable to the material. Later in his career, he developed an original slide style that is more melodic than bluesy. Like the Beatles as a whole, Harrison never settled into a comfortable groove. He glided across the musical spectrum-from country and western to spaced-out psychedelia to smooth and sweet slide-shattering conventions and then moving on.

7. Angus Young

Two decades after Angus Young first emerged AC/DC's axe-wielding dervish at age 14, the we Scottish Aussie remains one of the sturdiest bridges between young metal-ists and rock's blues roots. Although he did great work before and since, Young will always be best known for 1980's Back In Black, a blue-collar masterpiece which, with killer classics like "You Shook Me All Night Long," remains an all-purpose primer for riff writing and tight, scalar lead playing. Never mind the fact that the man does it all while spinning around like chinchilla on speed. Though he may be dwarfed by his signature oxblood SG, Angus Young is a giant among men.

8. Jimmy Page

Arguably the most emulated guitarist in rock history, Jimmy Page is additionally assured a place in the music's pantheon of greats for his roles as a musical director, produce and all-around guru of Led Zeppelin.

His Rampaging, blues-based work on anthems like "Whole Lotta Love," "Communication Breakdown" and "Rock And Roll" defines heavy metal. His real genius, however, was his ability to expand the parameters of the genre to include elements of traditional English folk, reggae, funk, rockabilly and Arabic classical music.

Page the guitarist has never been a facile as Edward Van Halen or Steve Via, but few players in rock history have been able to match his restless imagination or visionary approach to guitar orchestration. Whether he was exploring the exotic joys of open tuning on tracks like "Kashmir" and "Black Mountain Side," pioneering the use if backwards echo on "You Shook Me," or coaxing other worldly sounds from his '58 Les Paul with a cello bow on "Dazed And Confused," Page consistently transcended the limitations of his instrument and the recording studio.

More than 30 years have passed since Page recorded the seminal Led Zepplin IV, but the album's gigantic imprint can still be detected in the work of such cutting edge bands as Jane's Addiction, Stone Temple Pilots and Soundgarden, to name a few. Page, of course, remains active. His dense, mutli-layered work on the Coverdale/Page record demonstrated his refusal to rest his laurels.

9. Kurt Cobain

Kurt Cobain was the intense and unkempt grunge lord who brought Nirvana from obscurity to the top of the charts, was all the rage-literally. The king of the guitar anti-hero, he didn't play his Fender Jaguars but he mauled them in a chord-crunching fury. Inevitably, he smashed his guitars, littered stages around the world with his splintered victims.

Cobain was a guitar pioneer because he managed to fuse into one dynamic style the aggression of Seventies punk rock, the speed and simplicity of Eighties hardcore and the bottom-heavy crunch of Nineties metal-and done so without a trace of silliness or bombast to which all three genres are prone.

There's little doubt that scores of new players have been inspired to plug in by the chugging chords of Cobain's "Smells Like Teen Spirit." Segovia he wasn't. But Segovia never captured the angst of an entire generation with one burst of ungodly feedback.

10. David Gilmour

What makes David Gilmour truly remarkable is his uncanny ability to marry two seemingly contradictory genres-progressive rock and blues. Perhaps the most dramatic example of this unusual union can be heard on one of Pink Floyd's biggest hits, "Money" (Dark Side Of The Moon). As the song begins, Gilmour slowly builds a delicate network of spacious, effected guitars, only to topple them with a series of emotionally charged, vibrato-drenched solos, whose rich, shimmering tone and impeccable phrasing recall B.B. King, rather than King Crimson.

Gilmour is the rarest of rockers. Like Jimi Hendrix, he ahs the natural ability to balance the cerebral with the emotional, the technical with instinctual, while keeping an eye on both the past and the future. It is this awesome juggling act that is the secret to Pink Floyd's lasting appeal.

11. Keith Richards

Keith Richards is the archetypal rock outlaw, the quintessential skinny English rock guitarist in a tight black suit. He's filled that role since the Rolling Stones first established themselves as the dark, dangerous alternative to the Beatles in 1963. With his deep love of the blues, Keef initiated a generation of white, middle-class kids into the wonders of Muddy Waters, howling' Wolf and Chuck Berry. His unique five-string, open-G tuning lies at the heart of such all-time power chord classics as "Jumpin' Jack Flash" and "Street Fighting Man." As a soloist, Keef has worked a few miracles; witness the icy, amphetamine mesmerism of his licks on "Sympathy For The Devil" and his buoyant bending on "Happy." And he is the author of the most-played riff in all rock: the tritone mating call of "Satisfaction." Much has been made of Richards' fondness of controlled substances, but his ultimate drug is music; his knowledge of rock, blues and reggae is encyclopedic, his passion for them boundless. They have sustained him through imprisonment, addiction, tempestuous lines of his leathery face, the history of rock and roll is etched.

12. Eric Johnson

In a realm often dominated by ham-fisted machoismo, Eric Johnson stands apart as rock guitar's elegant poet laureate. He has managed to create an original style from such radically dissimilar sources as country chicken picking, Jimi Hendrix and jazzman Wes Montgomery. A legend long before he became famous, Johnson's seemingly endless, melodious lines and distinctive "violin" tone made it an absolute requirement for guitarists stopping near the Texan's hometown of Austin to attend his show there in the early/mid 1980s.

After turning down numerous offers to tour as a sideman, he rose to prominence in 1986 with his critically acclaimed, Grammy-nominated album, Tones. His follow-up, Ah Via Musicom, thrust the self-effacing innovator further into the spotlight, yielding one Grammy-winning cut ("Cliffs Of Dover") and eventually going gold. Combining passion and lyricism with what can only be described as an overwhelmingly positive vibe, Johnson's music is progressive without being academic, uplifting without stooping to sentimentality.

13. Buddy Guy

"Part of my reason for forming Cream was I suddenly had this mad idea about being English Buddy Guy; my goal was to be Buddy Guy with a composing bass player... And to this day, when he's on I don't think anyone can touch him. He takes you away to somewhere completely different." -Eric Clapton

"Buddy Guy is as close as you can come to the hear of the blues." -Jeff Beck

"He plays one note and you forget about the rent." -Carlos Santana

"Nobody can get out of tune as cool as Buddy Guy." Stevie Ray Vaughan

14. Yngwie Malmsteen

Two schools of thought have sprung over the years regarding Yngwie J. Malmsteen. On the one hand, the Swedish native's incredibly precise, rapid-fire playing has earned him as a profound and brilliant artist, the founder and most important exponent of neo-classical guitar. From the point of view of this school, the effortless blend of raw spead, finesse and passion that has characterized Malmsteen's style since his 1984 solo debut, Rising Force, represents the pinnacle of fretboard achievement. Yngwie is also credited with popularizing the scalloped guitar neck.

But Yngwie is also scorned by many in the guitar community, who loathe him with an intensity that matches the ardor of his most dedicated boosters. To group, Malmsteen was the architect of cold, empty guitar style, which emphasized technique over art, speed over feel. They rejoice over the apparent demise of neo-classicism. And how do you plead-for Yngwie or against?

15. Dimebag Darrell

This authentic, crimson-bearded lone star madman had rewritten the book on heavy metal riffing in the short space by many major-label releases. By combining the virtuosity of Edward Van Halen with the rhythmic drive of a glue-sniffing punk rocker, the legend Pantera guitarist had created a highly individual sound that that appeals to classic rockers, fans of death metal and industrial headbangers. On Pantera's March 15, 1994 release, Far Beyond Driven, Darrell solidified his reputation as one of metal's true originals on tracks like "Good Friends And A Bottle Of Pills," which combines hell-and-damnation riffing with the kind of abrasive avant-garde noodling that put Sonic Youth on the map.

16. John Petrucci

Known with Dream Theater, John Petrucci is proud to be progressive. "Our style is completely different from grunge and alternative music," says the 41-year-old Berklee-trained musician. "But I think our music has as much attitude as any of those bands."

Dream Theater is known for a complicated, textured style of hard rock that embraces flawless musicianship, lengthy improve sections, daring arrangements and other flashy elements made popular by Yes, Kansas, Rush and other old-school rockers. Leading the progressive charge is the technically masterful Petrucci, whose playing encompasses angular melodic phrases, liquid chromatics and manic dispays of speed-picking into an exciting, coherent style.

Despite his reputation, the Ibanez-wielding shredder remains modest; "Being looked at as a guitar hero is very flattering, but being singled out away from the rest of the band doesn't appeal to me," says Petrucci. "I'd prefer to have people view me as a talented musician in a good band-not as some flashy soloist." Not a chance.

17. B.B. King

As the universally hailed ambassador of the blues, B.B. King has introduced his favorite music to more people the world over than all other artists combined. In fact, he's so highly visible-popping up everywhere from ads for Northwestern Airlines and McDonald's to episode of "Sanford And Son" and "Married With Children"-that it's easy to take for granted and forget why he became so revered in the first place.

B.B. King has an incredibly expressive, vocal vibrato and an unmistakable, ringing tone, both of which have been imitated by legions of admirers. He is also the master of the perfectly placed bent note, stretching his strings with eloquence, brilliant timing and consistently perfect intonation. But what is perhaps most impressive about B.B. King is that despite hanging over 300 nights a year for decades, and despite having attained cultural icon status long ago, he has avoided slipping into complacency. He never plays the same solo twice and to this day stretches himself, demonstrating night after night exactly why he is the King Of The Blues.

18. Joe Satriani and Steve Vai -- Both rockers are equal careers and talent.

Starting with Joe Satriani, a walking warehouse of virtually every rock guitar style and technique ever developed. From delicate, classical-style finger-picking to the most profane vibrato-bar molestation, Joe knows it all. He elevates the level of whatever he's playing with his passion for sonic adventure and dead-eye sense of song and orchestration.

Like a human melting pot, Satriani has managed to integrate such disparate influences as surf guitar, world beat and Jimi Hendrix into his playing. His much-lauded 1987 breakthrough album, Surfing With The Alien, almost single-handedly rehabilitated instrumental rock as a mainstream genre and help bury the myth that a thoughtful, educated player couldn't rock. In the manner of the Blow By Blow-era Jeff Beck. Satriani employs his superior technique and seemingly inexhaustible vocabulary of licks, riffs and styles in the service of memorable songs (rather than the other way around). And he continues to do this exhibitionism, traps that have foiled too many of his peers.

Steve Vai's unparalleled technique and effortless flash made him rock's paramount pair of hired hands in the 1980's. He rendered PIL more accessible, empowered David Lee Roth, gave Whitesnake artistic credibility and even shredded for the Devil in a sensational performance in the film Crossroads.

But it was with 1990's Passion And Warfare-perhaps the most anticipated guitar release of all time-that Vai crystallized his technical skills, incredible drive and explosive vision into a sensitive, acutely personal guitar statement. He shifts gears with the greatest of ease, gliding from delicate lyricism to the back. Like a demented circus master, Vai has the power to amuse and frighten with his most dangerous menagerie of sound.

19. Joe Perry

For 35 years, through not one or two, but several climbs to the top, Aerosmith's Joe Perry has been a living testimony to the power of a Bad-Ass Attitude. Perry's perpetual sneer is expressed not merely on his chiseled face, but also through his guitars and overdriven amps. Of course, he's also written some pretty decent riffs, the best of which completely defines their song; it's impossible for even non-guitarists to think of "Walk This Way" or "Sweet Emotion" without humming Perry's etched-in-stone guitar lines.

20. Zakk Wylde

Zakk Wylde's hellacious guitar playing and charismatic stage presence made him a keeper of the heavy metal flame with Ozzy Osbourne for many years. But you ain't heard nothin' yet. Zakk stared a few bands of his own, Pride & Glory and his most recent, Black Label Society (BLS), frenzied, high octane slab of guitar mayhem. It's a molten mix of Zakk's two selves: his heavy, energetic Ozzyfield side and the hell-bent Southern rocker and ruthless side. Step out of the way and make peace with yo' maker, son.

The Best Electric Guitars For Hard Rock

2011-11-13T02:36:00.000-08:00

If you search in Wikipedia for the style of music heavy metal you'll find that they have listed at least 3+ dozens of subgenres. From stoner metal to symphonic black metal, there's no shortage of mystic names.

Even though I like bands across the whole spectrum, the style that I seek as a guitar player and that I will always identify myself with is hard rock. But as times goes on this seems to be a style that is slowly fading.

Hard rock doesn't require the precision that heavy metal guitar playing has, super thin necks and active pickups are not a necessity But attitude, mojo and a good distorted sound, those are the main attributes I look for in a hard rock guitar.

There are many designs to choose from, but one thing is for sure, almost all are related either to the Les Paul or the Stratocaster. These have proven to be the best designs in electric guitars for hard rock music.

My favorite is the Les Paul, the combination of mahogany body, set neck and humbucking pickups produce the kind of sound that I very much prefer.

But I won't deny that the Stratocaster design is a lot easier to play and more ergonomic. That's why a very popular style of guitar for hard rock is the so called 'Superstrat'.

This style was mainly pioneered by Ibanez and very much influenced by the early guitars of Steve Vai. The main purpose is to adapt the regular Strat design to be even more appealing to heavier music.

The RG is probably the most famous Superstrat. The main attributes of any Superstrat is 1 or 2 humbuckers (Strats are known for single coils) and floyd rose bridges.

Another style that is very popular is guitars built in the shape of a Strat but with the ingredients of a Les Paul.

Easy to Play Heavy Metal Guitar Techniques For Beginners

2011-11-13T02:34:00.000-08:00

I would recommend every aspiring guitarist who wants to play heavy metal and contemporary rock music to learn guitar shredding styles. Shredding makes your playing more dynamic and interesting. It is the right usage of different shredding techniques that makes your playing sound melodious and musical.

These are some of the contemporary rock and heavy metal guitar techniques that is the staple for a heavy metal guitarist.

* Sweep picking - is a modern guitar playing style used to play extremely rapid arpeggios across the fretboard (sometimes on all strings).

* The tapping technique - is used to play a couple or 3 notes or to play arpeggios using pure legato with no picking. Various techniques are used to perform passages with wide intervals, and to create a flowing legato sound. Some performers make complex combination of tapping and sweep picking. This increases speed by reducing the motion of the strumming hand.

* Alternate picking - is a guitar playing technique, used only by plectrum or pick users, by alternating downward and upward picking strokes in a continuous run, and is the most common method of plectrum playing. If this technique is performed on a single note at a high speed, then it may also be referred to as tremolo picking.

* Economy picking - is a guitar-playing style which is combination of sweep picking and alternate picking. Economy picking involves using alternate picking except when you change strings. The main intention here is to minimize movement in the right hand, and avoid the motion of "jumping" over a string prior to picking it, as often occurs in alternate-picking.

Shredding can be considered as the staple to modern day guitar playing and is quite an interesting style to learn, but at the same time takes hard work and determination from your part. So If you want to be successful in modern rock n' roll or heavy metal guitarist or Jazz, Blues or Blues Grass guitarist you have to start investing time in learning shredding.

Top 7 Hard Rock And Heavy Metal Guitar Tunings

2011-11-13T02:30:00.000-08:00

There are many different guitar tunings that are used in Rock and Metal music besides standard tuning. Guitar players in these genres like to use these tunings because they give a heavier and darker sound to their music.

Some of the more popular tunings used are Dropped D, Dropped C, Dropped B, E Flat, D, C and open G. Here are the descriptions of how the strings should be tuned and some of the bands that use them.

Dropped D tuning:

E ----------1st string

B ----------2nd string

G ----------3rd string

D ----------4th string

A ----------5th string

D ----------6th string (thickest)

This tuning enables power chords to be played with a single finger on the lowest three strings and produces a dark sound with it. If you're music doesn't fit together with this dark sound, you can place a capo on the 2nd fret and can still easily play power chords.

Some bands that use Dropped D tuning are:

Alice in Chains, Foo Fighters, Godsmack, Led Zepplin, Nirvana, Rage Against The Machine, Silverchair, Soundgarden and Velvet Revolver.

Dropped C tuning:

D ----------1st string

A ----------2nd string

F ----------3rd string

C ----------4th string

G ----------5th string

C ----------6th string (thickest)

Dropped C tuning is the Dropped D with each string lowered one whole step. Dropped C tuning produces a very low and heavy sound and is used by many of the new Heavy Metal bands.

Some bands that use Dropped C tuning are:

30 Seconds to Mars, Atreyu, Buckethead, Bullet for My Valentine, Children of Bodom, Godsmack, Bad Religion, Metallica, Mudvayne, P.O.D., Papa Roach, Rammstein, Shadows Fall, System of a Down, Three Days Grace and Ozzy Osbourne.

Dropped B tuning:

C# ----------1st string

G# ----------2nd string

E ----------3rd string

B ----------4th string

F# ---------5th string

B ----------6th string (thickest)

This tuning will need heavier gauge strings to be effective. Also you might have to widen the string grooves as well as adjust the tension in the neck of your guitar.

Some bands that use Dropped B tuning are:

Audioslave, Limp Bizkit, Machine Head, Mudvayne, Slipknot and Stone Sour.

Eb tuning:

Eb ---------1st string

Bb ---------2nd string

Gb ---------3rd string

Db ---------4th string

Ab ---------5th string

Eb ---------6th string (thickest)

This tuning is Standard tuning turned down a half step. There are a few reasons that bands use this tuning instead of Standard tuning. One reason is to sound heavier by using heavy gauge strings. By tuning down a half step it is easier to bend these heavy gauged strings. Another reason why some bands use this tuning is to compliment the lead singers voice.

Bands that use Eb tuning are:

Alice in Chains, Anthrax, Dream Theater, Guns N' Roses, Jimi Hendrix, Kiss, Megadeth, Metallica, Motorhead, Nirvana, Poison, Slayer, Stevie Ray Vaughan, Stone Sour, Van Halen, Weezer and Yngwie Malmsteen.

D tuning:

D ----------1st string

A ----------2nd string

F ----------3rd string

C ----------4th string

G ----------5th string

D ----------6th string (thickest)

D tuning is also known as whole step down tuning and as you have probably already guessed, it's Standard tuning tuned down a whole step. D tuning has been used mainly in Heavy Metal music.

Bands that have used D tuning are:

Alice in Chains, The Beatles, Bullet For My Valentine, Bob Dylan, Children of Bodom, Dream Theater, Guns N' Roses, Motley Crue, Nirvana, Pink Floyd, Racer X and Soundgarden.

C tuning:

C ----------1st string

G ----------2nd string

Eb ---------3rd string

Bb ---------4th string

F ----------5th string

C ----------6th string (thickest)

C tuning also produces a low sound that is mostly used by Hard Rock and Metal bands. The tuning is 2 whole steps below Standard tuning, which gives it a heavy sound but still maintains the same intervals as Standard tuning.

Bands that have used C tuning are:

Atreyu, Black Sabbath, Bullet For My Valentine, Deftones, Dream Theater, Jimi Hendrix, P.O.D., Queens of the Stone Age, Slipknot, Steve Vai and The Who.

G tuning:

D ----------1st string

B ----------2nd string

G ----------3rd string

D ----------4th string

G ----------5th string

D ----------6th string (thickest)

Other than the Drop D tuning, G Tuning is one of the most popular alternate guitar tunings.

Some bands that have used G tuning are:

The Rolling Stones, The Black Crowes, Led Zeppelin, The Who, Pink Floyd and Pearl Jam.

These are just some of the alternate guitar tunings that are available to you to experiment with. Play around with them and see which tunings fit your style of music.

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Best Guitar Strings for Playing Heavy Metal

2011-11-13T02:27:00.000-08:00

When it comes to guitar strings, it's definitely not a case of "one size fits all". Different guitar strings are more suited to some styles and completely inappropriate for others. No matter how hard you try, playing Lamb of God songs on nylon strings just isn't going to work.

So, what kind of strings do you need for heavy metal? As a general rule of thumb, the harder you play, the heavier strings you'll need. Heavier strings give you a louder sound and can withstand heavier strumming better than lighter gauge strings, without going out of tune. Heavier strings also give you a full bass sound, which is something you need for playing Heavy Metal.

The downside to using heavier strings is that they're a bit more difficult to use when playing lead. Heavier strings don't bend as well and are more tiring for your wrist, especially if you're just starting out, or have to play for a long session.

One of the best options is to use a hybrid set of strings. A Hybrid pack usually have heavier bass and lighter top strings. This keeps power chords sounding full on the bottom end, while the lighter top 3 make it easier to play lead.

Another advantage of using a heavier set, or heavier low end strings, is that they respond much better to dropped tuning. Dropped D tuning is where you tune down the Low E to a D instead of E and has been one of the more common tunings in Heavy Metal. Heavier strings also do a better job of maintaining their tone when you drop the pitch.

The 11 gauge strings are probably the best place to start if you are just starting to look into this. When you hear "11 gauge" that means the high E string is.011" in diameter.

Some popular strings for Heavy Metal guitarists are the D'Addario EXL140 XL, Rotosound Roto Blues, and Dunlop Zakk Wylde. You will find a larger selection at your local music store or any online shop that sells guitar strings.

There's some variation, but most heavy metal guitarists prefer something in the range of 10s to 12s. As always, though, you should experiment with different kinds of strings and find what works best for you.

The variation doesn't end there, your pick has influence over the final amplified sound too. Experimentation with different configurations is a rewarding process, and it brings something unique to your playing early on.

The Best Electric Guitars For Heavy Metal

2011-11-13T02:25:00.000-08:00

Among the many aspects of heavy metal guitar, the one that has become more refined with every generation of players is the precision with which it's played.

Black Sabbath can be said to be a band that played in a loose sort of way, but most of today metal is not like that. Think of the difference between American baseball before steroids and after and you might be in the ballpark!

So it's only fitting that guitars mainly designed for heavy metal take ergonomics very serious. Craftsmanship, attention to detail, those are things that your parents look for in furniture, and lawyers and doctors in their Les Pauls.

Metal guitars are about precision, speed, comfort and most important, a metal sound! There are many factors that add to the overall quality of a guitar, but sometimes the most important thing is the vibe of the instrument, how it feels when you play them.

Since moving to the US I've been extremely lucky to work and play many electric guitars, some that I could only dream about before. I'm very impressed by the current electric guitars for heavy metal that are available these days.

Guitars like the Schecter C1 Hellraiser for example, ever since this guitar came out I've been a huge fan of it. I remember many days making a living opening boxes and getting guitars ready for sale. Opening 12 boxes of Squier Affinity Strats was not fun at all, but I very much looked forward opening this one every time I could.

Or depending on which of the hundreds of sub-genres of heavy metal you might be interested a guitar like the Gibson SG Faded. I'm a big fan of classic metal, especially Black Sabbath, and as we all know this is the guitar Mr. Iommy is known for. For heavy metal guitars like these are among the best.

Heavy Metal Guitar Techniques

2011-11-13T02:22:00.000-08:00

Attitude, being aggressive and quick are the hall mark of heavy metal music. So, the techniques that you should adapt for this form of music should be exquisite and mesmerizing. If you are keen to learn the essential heavy metal guitar techniques then you might find this article quite handy. The guitar techniques that form an important aspect in any heavy metal band are mentioned below.

Palm muting

This is the technique where the guitar strings are muffled slightly, while the strings are picked simultaneously. This technique is executed by the picking hand i.e. the right hand in most of the cases. The main trick of this technique is to slightly mute the sound of the strings for the notes to be heard faintly. Palm muting can be better executed with electric guitars. It can also be performed in the acoustic guitars but the effect will not be that rocking.

Harmonics

This is another important guitar technique that most heavy metal guitarists use to spice up their performances. There are different forms of harmonics that are adopted by the guitarists. The first one is natural harmonics. Natural harmonics are produced by lightly placing your left hand finger on top of a note on the fret of the guitar, fretting a normal note.

The other forms are artificial harmonics. This is also referred to as harp harmonics. It is produced by plucking a string with the third finger of your right hand, while with the first finger you strike another note simultaneously.

Hammer-ons

A hammer-on is the guitar technique that generally involves two notes. This particular guitar technique is capable of producing a smooth, legato and connected sound effect. For playing Hammer-ons you need to pick on a lower note. Then with your left-hand finger you need to hammer onto a higher note on the same string. The second note, in this technique, is not picked.

Alternate Picking

Alternate guitar picking enables the guitar player to play notes at a very fast pace. This technique requires the picking hand to pick in an alternate up and down motion instead of a repeated downward stroke. The best ways to go about doing alternate picking is to use a very small, hard and sharp pick as this gives your fingers more control.

These are some of the important heavy metal guitar techniques that are frequently used by the heavy metal bands. Practice them thoroughly if you are seriously thinking of becoming a professional heavy metal guitarist.

Sepultura Albums - Death Metal History

2011-10-28T11:27:00.000-07:00

One of the stalwarts of the heavy metal rock scene is Sepultura who was formed in 1984 in Belo Horizonte in Brazil. There are now 11 Sepultura albums released to date. The band's music has been categorized as death metal, thrash metal, and groove metal.

Musical Inspiration
The band had listed some of the great names in metal rock as their inspiration, namely Led Zepellin, Metallica, Black Sabbath, Motorhead, Iron Maiden, Judas Priest, AC/DC, and Deep Purple.

The Band's History
Sepultura has had a number of band members, but among those that belonged during its early existence was Paulo Jr., Jairo Guedez, and the brothers Max and Igor Cavalera. In 1985 they released their first LP titled Bestial Devastation. It was soon followed by their very own record, Morbid Visions. It included their first major hit, "Troops of Doom".

Morbid Visions was not technically at par with other commercially made records. The songs were poorly produced and even the band members had claimed that they forgot to tune their guitars during the recording sessions. Nevertheless the album was notable for being the entry of Sepultura to mainstream meda and to the consciousness and awareness of a much larger heavy metal audience.

After the release of their debut album, Jairo Guedez left the band and was soon replaced at lead guitar by Andreas Kisser. It was then that second of the Sepultura albums was released. They titled it Schizophrenia.

While Morbid Visions was more of a death metal album, Schizophrenia falls under the thrash metal category. The album found its way to Europe where it was heavily bootlegged. It was also during this time that Sepultura was trying to make it into the American heavy metal crowd by sending copies of their albums to various radio stations.

By the time their third album, Beneath the Remains, was released the band had already gained some popularity. They then embarked on their first international tour across the United States, Mexico, and Germany. It was during this tour that they met their music idols such as Metallica and Motorhead.

Their fourth album, Arise, was the first to make it to the Billboard 200 charts ranking at no. 119. By this time Sepultura was already recognized as the top band in the death metal and thrash metal scene.

However, the band was starting to experiment with other musical styles. With the fifth of the Sepultura albums, Chaos A.D., their music became more of hardcore punk. The album was released in 1993. This variation from death and thrash metal continued with their sixth album, Roots, which included some elements of the musical styles of the indigenous people of Brazil.

In 1996 Max Cavalera left the band with no statements as to the reason why he did so. Some years later his brother Igor also left Sepultura citing artistic incompatibility. Each of the Cavalera brothers had formed their own bands and are still actively playing and recording.

Sepultura's other albums include Against, Nation, Roorback, Dante XXI, and A-Lex with each release helping in cementing the role and contribution of Sepultura to the heavy metal rock scene.

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Metal Guitar Scale - 4 Killer Scales That Will Assuault Your Ear Drums

2011-10-28T11:25:00.000-07:00

I often am asked by my students to show them a metal guitar scale. Well first I like to ask them to bring me a recording of one of their favorite metal bands. This helps me to decide which metal guitar scale they are accustomed to hearing in the music they love to listen to. With the many different genre's of metal available today it is impossible to pin-point a specific 'metal guitar scale'. This article aims to show the different scales used in metal music and how some work better with different kinds of metal.

Metal Guitar Scale #1
The first and grandfather of all rock and metal scales is the pentatonic. It is often times mixed with the blues scale also. If your preference is more rock based metal and older bands like Judas Priest, Black Sabbath, and even newer bands like Black Label Society the pentatonic scale is your scale of choice. This does not mean that these bands play the pentatonic scale exclusively, but they do use it heavily in their riffs and solos.

Metal Guitar Scale #2
The second scale I hear a lot in metal is the natural minor scale. It can blended with the pentatonic, but when used exclusively has a much more symphonic sound and feel. It can be found in many forms of metal ranging from 80's hair bands to speed metal bands like Slayer and Metallica. It is also popular in death metal and is probably the one scale that transcends into all genre's of metal well. Also popular is the harmonic minor scale which is basically a natural minor scale with a raised seventh.

Metal Guitar Scale #3
Another great scale metal players love is the Phrygian scale. It has a very distinct almost spanish style flavor and is found in many of heavy metal's clean guitar passages.

Metal Guitar Scale #4
The last scale that is commonly found in metal music is the Locrian scale. This scale is a favorite because of it's flatted second and fifth intervals which give it a very dark evil sound. Metal bands who use this scale are usually not your basic rock based metal bands and are usually more dark and mysterious sounding. Try listening to more death metal and black metal bands to hear this scale.

These are the four main scales you will frequently find in heavy metal. I could not say with any certainty which is a metal guitar scale because they all work well in different situations and can be used in other forms of music like jazz. My advice to you is to learn all of these scales and decide for your self which ones you like to use.

John Robert has been playing guitar for longer than he can remember. Aside from teaching guitar for the last three years he enjoys writing articles about playing lead guitar and other guitar related topics [http://ultimate-guitar-advice.blogspot.com/2007/10/guitar-scale-lesson-top-3-secrets-to.html]. If you are serious about mastering the use of different metal guitar scales you owe it to yourself to check out Guitar-Scale-Mastery.info

Death Metal Guitar Playing

2011-10-28T11:22:00.000-07:00

For some people, music is all about death metal. A dose of death metal guitar playing can often get the blood rushing and the adrenaline pumping. No wonder, followers of metal music are seen head banging at concerts. Death and dark metal music can also been mixed with other forms of music like Middle Eastern, Jazz and Classical genres to produce musical magic. There are many online lessons that could help in understanding the breadth and depth of this genre that is full of intensity and spicy variations.

Although playing death metal apparently seems like an art beyond normal humans, many online guitar lessons can take enthusiasts closer to this dream one step at a time. There are many online courses that are helpful in perceiving the fine line that separates the styles of playing guitar for death metal and normal rock.

The variations of sound in playing dark metal music are what set it apart. The vocals are primarily low pitched, but full of thunder and intensity with occasional groaning too. To support these vocals, the guitar too needs to produce powerful and pounding notes. The term online lessons would use for this is 'power chord'. A power chord is simply a bass version of an actual chord. In other words the top three strings, which are heavy and produce a bass sound, are predominantly used.

Death metal guitar playing demands a wide range of skills. Some of the online lessons lend more insight into these techniques. For example, sliding the fingers across the fret board produces a gentle and gradual rise of pitch. Multiple slides would help the guitarist link different scales across the fret board. Be it choking the strings, hammering one string at a time or gently touching them, playing metal is all about mixing different styles to avoid the monotony of a single sound.

The mastery of certain guitar scales such as the Locrian scale will aid greatly in your guitar playing. Much of the heavy metal and darker sounding solos can be derived from playing the Locrian scale. The use of inverted power chords with the bass notes will also help you create a dark and heavy tone off your amplifier.

One must realize that there are a lot of exercises that could help in mastering these frills and pull them out at will. One needs good finger strength and the ability to stretch them quickly and deftly. A good online course would hence be a guide towards developing the technique required to play death metal on a guitar.

Easy Steps to Master Death Metal Guitar Lessons

2011-10-28T11:21:00.000-07:00

An extreme sub-genre of heavy metal, death metal genre of music emerged in the 1980's. Some of the 80's heavy metal bands like Venom, Slayer and Exodus inspired this extreme metal music which is characterized by morbid vocals and distorted guitars. Death metal guitar essentially involves downtuned notes and considerable use of techniques such as palm muting and tremolo picking. The music may make your head reel, but it is nearly not as difficult to master as it apparently seems. Internet can be your best source for finding out some excellent free death metal guitar lessons. But before you start searching for suitable downloads, first go through these easy to follow steps.

Acquire a guitar that can bear and support metal

The guitars that are made for soft pop can not obviously help you churn out the fast and dynamic music that is death metal genre is so famous of. No matter where you buy your guitar from, make sure the guitar is made to support the ferocious death metal music.

Keep the distortion in mind

As you start taking such metal guitar lessons, you will come to realize the significance of distortions in this style of playing. For this you have to make sure, your amp has enough distortion. At the time of practice, use adequate amount of distortion to get used to it, though at the time of performance, the guitarist is advised to keep his distortion level at 75% to 80%.

Try to make use of notes instead of chord to create heavy metal sounds

Learning how to make use of single notes instead of chords makes an important part of your metal guitar lesson. A beginner in death metal guitar should keep in mind that it is possible to create quite extreme metal effect with the use of thickest strings instead of full chords.

Right tuning is important for producing right metal effect

The death metal guitar lesson should teach the student, how to tune the guitar rightly. Playing death metal guitar becomes easier when you tune your guitar to drop 'D' or 'C'.
This kind of tuning supports the fast movement between chords, which gives death metal genre its special character.

Learn Double picking

In metal guitar lessons, special emphasis is given to fast double picking methods. Guitar lessons DVDs are ideal for learning double picking methods in details.

Break downs and Palm muted open chords

If you want your guitar to sound really brutal, you have to play fast and harsh. And metal guitar lesson teaches how to do it. So each time there comes a breakdown in the song, play it with palm muted open chord. At the same time learn how to strum the guitar without touching the frets.

These were few basic steps that can help you give your audience some good deal of adrenaline rush. Keep these in mind while you practice and one day you will surely be able to play like Chuck Schuldiner.

Ozzy Osbourne Ozzman Cometh Heavy Metal Music CD Review

2011-10-27T16:42:00.000-07:00

Ozzman Cometh is the latest release from Heavy Metal Sensation Ozzy Osbourne, and I can only think of one word to describe this CD... AWESOME!

It's a rare day indeed that I get a CD from an artist that I can truthfully say does not have a bad track in the bunch. I'm more than happy to announce that's exactly what I must say about this one. There simply is NOT a bad one in the bunch. No fillers here at all, with each song standing tall on it's own.

Heavy Metal music fans will recognize some of the well known guests that have been assembled to play along with Osbourne on several of the tracks. Artists like Rick Wakeman and Geezer Butler just to name a couple.

Listen to and I think you'll agree that the song choices are excellent, the production is outstanding and Ozzy Osbourne is clearly in top form.

While the entire album is outstanding some of my favorites are track 1 - Black Sabbath, track 8 - Bark At The Moon, and track 15 - Back On Earth

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 14 - I Just Want You. Good stuff!

Ozzman Cometh Release Notes:

Ozzy Osbourne originally released Ozzman Cometh on June 25, 2002 on the Epic label.

CD Track List Follows:

1. Black Sabbath - (previously unreleased, Ozzy's basement tapes)

2. War Pigs - (previously unreleased, Ozzy's basement tapes)

3. Goodbye To Romance

4. Crazy Train

5. Mr. Crowley

6. Over the Mountain

7. Paranoid - (live, with Randy Rhoads)

8. Bark At The Moon

9. Miracle Man

10. Crazy Babies

11. No More Tears - (edit)

12. Mama I'm Coming Home

13. I Don't Want To Change The World - (live)

14. I Just Want You

15. Back On Earth

Personnel: Ozzy Osbourne (vocals); Tony Iommi, Randy Rhoads, Zakk Wylde, Jake E. Lee (guitar); John Sinclair, Kevin Jones, Rick Wakeman, Michael Beinhorn (keyboards); Geezer Butler, Bob Daisley, Rudy Sarzo, Bill Susan, Mike Inez (bass); Bill Ward, Lee Kerslake, Tommy Aldridge, Randy Castillo (drums).

Producers include: Ozzy Osbourne, Randy Rhoads, Max Norman, Ron Nevison, Michael Beinhorn.

Engineers include: Michael Wagener, Paul Northfield.

Recorded between 1970 & 1995.

Mastodon - The New Wave of Metal Music

2011-10-27T16:37:00.000-07:00

Mastodon is a band that is from Atlanta and considered to be a heavy metal or progressive metal band. They have become a notable band within the past few years, and since starting out back in 1999, they have accomplished a lot - touring across the world, releasing four albums, and increase and expanding their fan base.

Guitarist Bill Kelliher and Brann Dailor, a drummer, moved to Atlanta and they met up with Brent Hinds, a singer and guitarist, and Troy Sanders, singer and bassist. They met at a show, High on Fire. The realize they had a lot in common - an appreciation and love for sludge metal bands, and soon they would come together to form the band Mastodon. By 2001, the band was able to get a record deal with the label Relapse Records. Their first EP was released in 2001 - Lifesblood, and later in 2002 they would release their debut full album, Remission. The singles from this album include "Crusher/Destroyer" and "March of the Fire Ants."

In 2004 Mastodon would release their second album, known as Leviathan, and it received a lot of critical acclaim. Kerrang and Terrorizer gave it the award of Album of the Year, and Metal Hammer named it the second best album of the year. Another distinction this album received was the 3rd best album over the past 20 years, given to them by metal Hammer.

Blood Mountain was their third album, which came out in 2006, right before the band toured with Tool across Europe. The first single from this album was "Capillarian Crest," which reaced number 26 in the top 100 songs of 2006 by Rolling Stone. The album did exceptionally well, noted by Bizarre, Revolver magazine, PopMatters, and Metal Hammer.

Just recently in March of 2009 Mastodon released a fourth album - Crack the Skye. They have a normal version, as well as a deluxe version of the album. Within just a week of this release, it reached number 11 on the Billboard 200. A few of the songs included on their newest release includes "Divinations," "Oblivion," "Ghost of Karelia," and "The Last Baron."

Mastodon has definitely become a top "voice" in the new wave of metal music that has recently become so popular. With a hard and loud sound, they definitely bring back metal music in a new way. Interesting lyrics and hard hitting songs have made the band popular, and they continue to draw followers to their band. They have toured around the world with top bands, and continue to tour, working to bring around a "new wave" of metal.

Short Guide to Understanding Heavy Metal Music

2011-10-27T16:35:00.000-07:00

What is Heavy Metal?

The definition of Heavy Metal can be both huge and ambiguous. There are so many different bands labeled in different metal sub-genera that are virtually impossible to follow them all. So, we can get to a point where we could ask: what heavy metal is. Is it loud guitars with distortion (just like rock n roll)?, pounding bass and drums (like dance music)?, a certain rhythm (different rhythms are used in different sub genera)?, an attitude?(we could argue that Madonna has the metal attitude). In general terms, Heavy Metal is a combination of everything we mentioned and more; therefore definitions should be left out of the equation. The word that best describes Heavy Metal is "lifestyle". A metal fan lives metal, and basically stays as a metal head for ever. The reason for this has been researched by science (just type heavy metal articles and you'll see), but for the metal fan definitions are not important (although we categorized bands by sub genera).

How to learn about the genera?

The best way to understand what Heavy Metal is, should be to listen to good references. If you don't know anything about it and wish to start, read reviews (there are several web pages that can help you in this task). If you do know something about it, share it with other people and let them know what good examples of records and bands are available.

I suggest to start with late 60's, early 70's hard edgier music like the Doors and Hendrix, then work your way up in time with Black Sabbath, Led Zeppelin, Kiss, Rush, Pink Floyd and King Crimson. For the late 70's and early 80's the references are Punk rock bands like The Clash, The Ramones and The Sex Pistols, along with AC/DC and the New Wave of British Heavy Metal (Iron Maiden, Judas Priest, Saxon, Deff Leppard; etc.). In the Late 80's you should look for the Glam Metal movement (Mötley Crüe, Poison, Ratt, Bon Jovi , Guns n Roses and Dokken), and the Trash Metal scene with Slayer, Megadeth, Testament, Anthrax and Metallica music. The early 90's saw the Grunge movement surface with Nirvana, Pearl Jam, Soundgarden, Stone Temple Pilots, and Alice in Chains. Additionally the Alternative Hard Rock Music became mainstream in the early 90's with bands like Faith No More and Tool and underground the Power, Death and Black Metal scenes grew strong (specially in Europe) with bands like Helloween, Gamma Ray for Power Metal; Death, Cannibal Corpse for Death Metal; and Dimmu Borgir and Emperor for Black Metal.

The late 90's and 2000's has seen a mixture of many influences for the mainstreams movements like Nu Metal (Limp Bizkit, Korn, Marilyn Manson, Linkin Park, Disturbed), and Metal Core (Trivium, Mudvayne, Bullet for My Valentine).

As you can see there are many bands and many sub genera and is virtually impossible to mention everyone, therefore there are many opinions where each band should be categorized. The best advise if you wish to learn is to listen to the bands and make your own opinion about what is really Heavy Metal.

How to approach Heavy Metal?

Metal music is free, so should be you. An open mind is fundamental to start listening to it. You should not be analytic at first, just try to find what are your preferences (remember, there are a lot of sub genera). A very important fact is that you are not going to be able to listen to every band there is, try to get the better ones from many sub genera and start from there.

Where can I learn about the bands, genera, albums, etc.?

There are many web pages and documentaries about the subject. You just search for Heavy Metal music on the Internet and you should get all the information you need. There are also many magazines specialized in general music and/or metal music that you can look for.

Black Metal Music

2011-10-27T16:32:00.000-07:00

Normally approach in waves, with roots in old school thrash metal, black metal is a little know, often misinterpreted sub-genre. Metal has been an exit to disillusioned kids looking for a way out of internal struggles with personal, religious or cultures differences.. This little subset of dedicated fans have committed a great deal of crimes and felonies, such as church burnings (50 or more churches) and murders.

Black Metal Beliefs

Mayhem and Varg Vikernes is the most favorite metal band to date. In the year of 1993 Oystein Aarseth, owner of record label Deathlike Silence, was killed by Vikernes. Vikernes was found guilty of murder later that year. This impact, the anti-religious position of Vikernes was a expression of the views of the metal genre as a whole. With any culture, you will find the disputes, opinions and beliefs.

Impacts on Black Metal

Pioneered bands like Bathory and Cruachan took their music to a Viking lore and mythology style and made an impact on the metal music genre. These metal bands that are know as "folk" and "viking" often use instruments that are away from the norms and opt to compliment the common electric instruments, like guitars, drums and bass. This music includes bands with an ambient, symphonic and doom metal sound have been experimented. Old 80's punk movement (know as crust) to Gothic or even industrial influences have some further sounds that some black metal bands have pushed the envelope with.

The Black Metal Impression

Romanticized or demonized has had a living impression on the metal genre and will proceed to so long as there are fans disenfranchised with the world they see around them, requiring an exit for their creativity and individualism. With metal bands such as Venom and Celtic Front to the present and future. Black metal will become stronger, more shocking and will continue to be experimental.

Beyond Fallen Band Interview

2011-10-27T16:28:00.000-07:00

Beyond Fallen, the latest NEPA area band to be signed to a major record label, has a lot going on right now and has struggled a great deal to get to where they are. There aren't many true metal bands in Pennsylvania (ask any struggling metal band), yet the band has received an ever-growing amount of recognition, locally and internationally. "Our approach at songwriting and our style clearly sets us apart locally because nobody else plays true metal - so it's like running in an election unopposed, ...though there are other bands in the world doing stuff like us."

Like many others before them, the band started by playing a few cover songs to find their own sound and style. They soon recorded their first EP, and then their first full-length CD, "Lost in the Shadows," by 2005. The European metal scene took notice instantly, leading to a spot on Headbanger's Open Air Festival and eventually signing to Melissa Records.

The Netherlands label specializes in bringing metal from the US to Europe and the rest of the world, the band explains. Beyond Fallen has recorded a new album, "Mindfire" under this label, and it will be released internationally very soon. "I was given total creative freedom in designing the art and layout for Mindfire and the image and concepts for this album - and of course nobody told us how to write our songs. The creative freedom is important. It helps to have the financial backing to continue the band, because on this level it gets very expensive if you try to do it all yourself. I don't think it's just a coincidence that our label is from The Netherlands - one of the most liberal nations on the planet. We are an open-minded bunch, quite diverse in our musical backgrounds, and personal beliefs as well, so it's a great fit to be on this label."

Metal fans are sure to appreciate the new album, "Mindfire." As singer Joe explains, "If you like metal, you will dig it. We don't follow trends, we write songs we think are good - that we'd like, and if other people like it great."

Things are certainly heating up for this NEPA metal band, and the guys are very appreciative. "It's been a long, hard uphill battle, but through determination and being true to what we believe we managed to break out of Northeastern Pennsylvania."

Though the band has struggled locally in the past, we've personally witnessed local bands in awe and admiration of Beyond Fallen, and we're sure that will continue in the future. Does Beyond Fallen have any advice to other bands looking to get signed?

"I hope perhaps more bands from our area will see what we are doing and be inspired to try and do the same. There's more out there than just the bar scene in Northeast PA."

About Skullcandy Headsets

2011-10-27T16:26:00.000-07:00

Almost everybody owns a multimedia gadget or equipment. This can be a home multimedia system or the portable multimedia gadget. These days' people cannot seem to live without technology in their lives. Could you? These gadgets may be computers, music players, video cameras and much more. The most popular gadget almost everybody own is a mobile phone. Are you into music? Or do you consider yourself a gaming geek or a computer nerd?

Headsets is not something new but is has been around for awhile and is constantly innovated. Manufacturers of multimedia technology have created many ways in attracting consumers to constantly update their audio and gaming device. There are a lot of headsets sold in the market who try to add that spark in their product. Unfortunately, they fail to get consumers interest.

skullcandy headsets add that cool vibe to your over all street persona. This brings out in you that attitude while out in the street listening to your songs on your mp3 or iPod. It comes in many forms, variations, designs and colors. You can be that cool guy in the neighborhood, in school, at the mall or at work. You can even change your headsets, if you can afford it, which will match your outfit for the day. Or buy a classic design, why don't you?

Always look around the stores in malls before buying a headset. Don't grab and pay for the first headset you laid eyes on. You have to test the quality of the headset. You can search for the most popular brand to your liking. Are you into the professional looking headsets or are you into the hip and young brands? Will you be using it mainly for listening to music, for gaming or for online work? Compare prices and ask yourself if the shipping fee is worth paying for the product.

A skullcandy headset does not only cater to audio devices but also for gaming devices like Xbox as well. Skullcandy headset sets themselves apart from competitors by their fierce graphic design and colorful headset choices. In the multimedia industry, Skullcandy headsets are known to be of superior quality in material, technology and sound. These are the same factors we all consider before buying a headset and these are durability and clarity in sound.

Headsets manufactured by skullcandy come in many forms. Headsets could be over ear, on ear, earphones, wireless, for gaming, sports buds, for DJ and with in-line Mic. It comes in many iconic designs such as Rasta headsets, Paul Frank, skull print, NBA teams, and plaid print and in various colors imaginable in the color wheel. skullcandy headsets have every design perfect for the cool guy and cool girl in you. There is always one that is suitable to your needs and your personality.

The Black Roses DVD Review

2011-10-11T04:03:00.001-07:00

With the underground success of Metalocalypse, the deification of Ozzy Osbourne as reality television star, and countless Behind the Music profiles in which aging headbangers warmly reminisce about their glory days of boozing and whoring, it was only a matter of time before someone transferred The Black Roses from a forgotten video tape master to a commercially available DVD (Synapse Films).

It's a matter of personal taste whether such a transfer should ever have occurred, and certainly depends on your age and tastes circa 1988. If around that time you teased your hair and strangled your leg with a bandana, then you likely already own a copy of this movie which you store on the shelf next to the Lost Boys and This is Spinal Tap. If you never experienced this sordid time in history, then viewing this movie about a demonic heavy metal band who wreaks havoc on a small town will most likely leave you with a look of dumb bewilderment.

Heavy metal was at the peak of its popularity in 1988, with many of its sharper edges dulled by commercial and popular pressures. In this regard, metal was ripe for roasting, and it's not surprising that the Black Roses treats its subject with a healthy dose of humor. In the film, heavy metal is a style of music literally played by demons that causes youths to become hypersexual and violent. The promotional trailer for the movie tells us that "everything your parents warned you about heavy metal was right," and the movie supports this thesis: a horny metal chick seduces a lecherous father, giving him a heart attack; a disgruntled metalhead runs his mother over in the driveway for bitching about his late schedule; a demonic lizard crawls out of a stereo speaker to feast on a dad who criticized his child's long hair.

While some of the images are comical, others are surprisingly violent. In one scene, a dazed headbanger grabs a snub nosed pistol and for no reason other than the glory of metal, blasts his father in the head, spattering blood on his smiling childhood portrait. The mix of the utterly ridiculous (death by stereo) which the fairly edgy (handgun patricide), keep the movie pleasantly unpredictable if not entirely coherent. In the end, a concerned English teacher is able to thwart his horny and deadly students, sneak into the Black Roses concert hall with a can of gasoline, and burn the demons while they continue to rock and roll.

The Black Roses is a fun premise with cult written all over it in more ways than one. The movie delivers metallic glory to anyone capable of withstanding its pop metal score and righteously configuring his or her flux capacitor to 1988.

Skullcandy Headphone Concept: Headbanger

2011-10-11T04:02:00.000-07:00

For those of you who like to listen to music while you work out, you know that it usually comes with a number of problems. An ear bud may fall out in the middle of a work out, it's uncomfortable to wear, and last but not least, the sound quality is never really that great. I know I have encountered these problems many times. Luckily, thanks to designer Benjamin Lotte and Skullcandy, these problems may just have been solved. The Headbanger headphones look like they will allow you to blast away calories-and your eardrums-in comfort.

This headphone/headband hybrid looks like it will have a number of cool and useful features. The headband will be adjustable to prevent the headphones from falling off in the middle of your workout,

and the sound quality will likely be similar to that of any other pair of Skullcandy headphones. That means it will most likely sound better than your current workout headphones do. It also has customizable color schemes to match all of your workout attire so you can be stylish in them as well. It sounds like it will be a pretty good headset to me. The only thing that I can think of that would improve these was if they were wireless headphones. Also, it seems that the ear pads may make your ears sweat, so that may be another con to this item. Regardless, these still seem like a fantastic product, and I know I will definitely be interested when these come out!

Current Faves - Actual Playlist

2011-10-02T00:11:00.000-07:00

1. ARCH/MATHEOS: Sympathetic Resonance
2. DEATHSTORM: Storming With Menace
3. AGONY: The First Defiance
4. CHARRED WALLS OF THE DAMNED: Cold Winds On Timeless Days
5. MOTÖRHEAD: Ace Of Spades
6. KREATOR: Terrible Certainty
7. VIRUS: Force Recon
8. NIHILIST: Demo Collection
9. MASSACRA: Enjoy The Violence
10. OZZY OSBOURNE: The Ultimate Sin

Actual playlist

2011-08-31T20:30:00.000-07:00

1. DELIRIUM: Zzooouhh

2. POSSESSED: Seven Churches

3. EXCRUCIATOR: Devouring

4. ASPHYX: The Rack

5. DEATH: Scream Bloody Gore

6. KREATOR: Pleasure To Kill

7. IMMORTAL: Diabolical Fullmoon Mysticism

8. CELTIC FROST: To Mega Therion

9. SOLITUDE AETURNUS: Beyond The Crimson Horizon

10. TROUBLE: Manic Frustration

Actual playlist

2011-07-24T23:03:00.000-07:00

1. EXCITER: Heavy Metal Maniac
2. MERCYFUL FATE: Don't Break The Oath
3. ARTILLERY: By Inheritance
4. LIVING DEATH: Metal Revolution
5. COUNT RAVEN: Destruction Of The Void
6. SACRIFICE: Torment In Fire
7. FORBIDDEN: Forbidden Evil
8. ATLAIN: Guardians Of Eternity
9. MORBID SAINT: Spectrum Of Death
10. PROTECTOR: Urm The Mad

Stormwitch - Andy Mück

2011-07-11T23:56:00.000-07:00

A little chat about the 25th anniversary of the third album Stronger Than Heaven, of the legendary German heavy/speed act Stormwitch. The answers were given by singer Andy Aldrian.

So Andy, let we start with the past, while the NWOBHM was ruling the world, in Germany things were a bit different, many bands with a special „teutonic” sound were coming out, most of them soon to disappear in the early eighties. Bands like Gravestone, Noisehunter, Veto, High Tension, Tyrant, Running Wild, Steeler, Grave Digger...and of course Stormwitch (earlier Lemon Sylvan), do you still remember how the band got together exactly? What about your musical backgrounds, experiences? Was Lemony Sylvan the very first band for all of you?
We were friends at school and liked the same kind of music. Our school was very depressing and the small town from where we came from was very boring nothing for young males who wanted to see the world and make experiences.We were keen to have adventures to make our own band was our ticket for a new life. When we started there where no Heavy - Metal scene. There were Hard Rock. Hard Rock was bands like: Black Sabbath, Led Zeppelin, Deep Purple. Hard Rock was more intellectual more poetic so we nomed our first band Lemon Sylvan. But we wanted a concept that was harder, crueler and darker and as we heard the first Iron Maiden album with songs like Phantom Of The Opera or Transylvania it was an manifestation.
Who came up with the name Stormwitch? Did it sound more metallic, than Lemon Sylvan?
In 1983 we named our band Stormwitch. Storm for the music and witch for dark and mystic lyrics.
In 1984 they released your debut „Walpurgis Night” album through Gama Records, do you think, that your career was on the way?
Gama Records was no big deal but it was a good opportunity to stay independent. We could create our own cover, choose our own photographer we could wear the clothes that we wanted and could play our music in the way that we liked it.
A year later came out „Tales Of Terror” and if I remember correctly, you had some troubles during the recording sessions, the studio and the tapes were burnt, right?
Yeah, we had a lot of bad luck during the recording of Tales Of Terror. But also a lot of fun. Nearby the studio was a well known place called the Rock Fabrik where they played Hard Rock and Heavy Metal. It was a good place for drinking beer. We made our first experiences with girls there I saw important bands of the Metal scene there in their younger years, Manowar, Slayer for example.
Were you aware of Hallow’s Eve also released an album (their debut) with the title „Tales Of Terror” in 1985?
No, we had the idea for the album title from The Alan Parsons Project album, Tales Of Mystery And Imagination.
At which point did you start writing the material for your third album, that became „Stronger Than Heaven”? How did the song composing go as a whole? Is it true, that Stefan Kauffman (Steve Merchant) and Harald Spengler (Lee Tarot) composed the whole material in 14 days? Why did you have to hurry at all?
Two weeks before we went to the studio Lee Tarot and Stefan Kaufmann closed themselves up in a room and came back after 14 days with the whole material, stinking hungry and tired. We had to fulfill the contract with Gama: Every year an album.
What about the recordings sessions? Did you have a decent budget to record the material?
No. Independent always means: you start with nothing and later on you have debts.
How do you view, that with this album Stormwitch became more original with the image you started wearing old costumes from the baroque era of the 17th and 18th centuries?
At that time the ideas came from Lee and Steve also to wear baroque costumes contrary to all expectations it was very satisfying for me personally. The outfit fit me very well and my adventures with women of all kind increased.
Instead of spikes and leather you changed your outfit to baroque costumes, was your goal to take distance and different yourselves from all those speed-/thrash-/black metal bands, that were appearing or existing at this point?
Lee Tarot always hated Speed, Thrash, Black, Death Metal - he always loved melodic songs Eye Of The Storm is mainly his album. I myself was at that time just the singer in the band. I never was so distant to such bands. I loved Venom, the best live show I ever saw was King Diamond from Mercyful Fate. Like everybody I love Reign In Blood from Slayer and Metallica’s Kill'em All for me is their best album. Kill'em All what a statement !
You named yourselves as the Masters of the black romantic, that became an inherent part of the band, how do you explain this?
Black Romantic was a period in the English literature, it is also called Gothic novels: H. Walpole The Castle Of Otranto, Ann Radcliffe The Mysteries Of Udolpho, The Monk from M. G. Lewis for example. The scenes of this novels were always old castles or monasteries. We always loved the atmosphere of such places and in our phantasy we lived inside these thrilling stories. Many people have longings for such places and stories.
Do you agree with, that the incredible quality of this album obviously helped the band a lot to move another step forward?
Yes, hear it. I love you for those sentences you bastard. Correct. Yes, yeah we all liked it. The sound is terrible.
Is Stronger than Heaven certainly an album, that any trad metal fan will enjoy from the first spin?
What do you think about, that the result is a top notch record of speedy metal influenced by Running Wild/Helloween, but also with a perfectly clear personal character, thanks to the ever present new wave touches, the melodic guitar leads, your characteristic vocal and of course the occult lyrics and atmosphere (trademark of the band)?
In 1987 Stormwitch was a bunch of high motivated, very creative musical amateurs. No, but the ideas on this album are absolutely great, like on every Stormwitch album. I say that very humble.
In 1986 Stormwitch did their first and only German tour supported by Stranger and Killer, how did the whole tour go? Can you tell us more about it?
The singer from Stranger lost his voice after the first half of the tour because he was constantly drunked and didn't slept an hour. Killer had these L.A.Rocker poser image and when we played in Casrtop - Rauxel they had a gang bang with one of the groupies. That is not my cop of coffee. I myself had same special affairs very erotic, very special.
Strangely, the band was way more popular in Eastern Europe and spent more time touring and promoting there for example in Hungary (Budapest), what do you recall of those Hungarian shows? You had a lot of followers and die hard fans in Hungary…
In Hungary I had the best days of my life and I am happy that we play at the Metal - Fest in Budapest in June. I always loved the warm and sincere way that the Hungarian fans loved us.
Is it correct, that even a fan club was created, under the name of Witch Attack, that stayed with the band until the very end, but somehow the magazines and general media kept on ignoring the band, giving much more support to Helloween, Running Wild or Rage?
Yes, it is correct, but I have no problem with that.
Why did you never really achieve that kind of popularity?
You have to be at the right place at the right time. We were never at the right place at the right time without Hungary - that was always a great time.
Thanks to Hammerfall (who covered your classic „Ravenlord”), Stormwitch fortunately became known by the younger generations, right?
Yes, very special thanks to Hammerfall.
Did they help taking the band’s name, the legend alive?
Yes. You are right since that Stormwitch is a legend.
Andy, thanks a lot for the interview, anything to add, that I forgot to ask?
I’m glad to see you all in Budapest !

Pannónia Fesztivál - Cseri Parkerdő - 2011. 06. 09.

2011-07-05T00:12:00.000-07:00

Amikor tudomásomra jutott, hogy a Twisted Sister fellép az immár ötödszörre megrendezésre kerülő, négy napos Pannónia fesztiválon, arra gondoltam, hogy valaki nagyon poénos kedvében van. Április tréfaként fogtam fel, ugyanis az esztendő negyedik hónapjában tudtam meg ezt az információt. Miután utánanéztem, hogy a hír nem kacsa, hanem valós, egyértelmű volt számomra, hogy a Cseri Parkerdőben lesz a helyem június 9.-én.
A viszonylag gyors beengedés után a Port.hu színpadot (amúgy négy színpad volt) céloztam meg, ugyanis ott léptek fel a new yorki istenek. A fesztivál első fellépője számomra a BEATRICE volt. A ’88-ban megjelent duplalemezen (78/88) kívül nem túlzottan hallgatom a zenekar kiadványait, mindenféle sértő szándék nélkül, nekem az a korszak a Beatrice. Értelemszerűen a Nagyvárosi Farkas, a XX. Század, a Katicabogárka vagy a Boldog Szép Napok többet mondanak, jelentenek nekem, mint az Őrületes Rock ’N’ Roll. Sajnos nem volt Jerikó és Motorizált Nemzedék, de a csapat rendelkezésére álló egy órás műsor így is tömény, intenzív és szórakoztató volt.
Ajándék volt részt venni a Twisted Sister sajtótájékoztatóján, begyűjteni autogramjaikat, közös fotókat készíteni velük, azonban Dee Snider unszimpatikus hozzáállása kiverte a biztosítékot. Történt, hogy minden idők legnagyobb frontembere, egyik legnagyobb énekese, nemes egyszerűséggel felhúzott a turnébuszra és a koncert kezdetéig ki sem dugta onnan az orrát, ergo közös fotó, dedikáció felejtős. A sajtótájékoztató után az EDDA vette birtokba a deszkákat, amely legnagyobb meglepetésemre egy méregerős best of programmal rukkolt ki. Ha nem tévedek a „legfrissebb” dalok a Szellemvilág és az Elérlek Egyszer voltak. Jó formában, energikusan vezette elő a zenekar az olyan klasszikusokat, mint a Minden Sarkon, a Torony (!!!), a Kölyköd Voltam, a Győzni Fogunk vagy a Gyere Őrült. Pataki Attila énekes politikát sem nélkülöző, itt-ott obszcénba hajló átkötő szövegeit megspórolhatta volna, ettől függetlenül kiváló hangulatot teremtettek, kiváló koncertet láttunk/halottunk tőlük.
20.50-kor, a kiírt fél kilences kezdés helyett aztán elérkezett a várva várt pillanat: színpadra lépett minden idők egyik legalapvetőbb, legmeghatározóbb zenekara a TWISTED FUCKIN’ SISTER. 2004-es Summer Rocks-os koncertjük után másodszor tették tiszteletüket nálunk. Különbség annyi volt a hét évvel ezelőtti előadáshoz képest, hogy ezúttal elhagyták a sminkeket, a klasszikus fellépő ruhákat, kizárólag Dee The Fuckin’ Snider énekes használt egy kevés szemkihúzót. A régi időknek megfelelően az intro után a What You Don’t Know (Sure Can Hurt You) – a Eddie „Fingers” Ojeda és Jay Jay French gitárosok valamint Mark „The Animal” Mendoza basszusgitáros a közönségnek háttal állva pengettek, Snider pedig atombombaként robbant a színpadra, „Good evening welcome to our show…” – The Kids Are Back – Stay Hungry hármason rongyoltak át és kezdetét vette az extázis, az eszméletvesztés. Minthogy a többi fellépőnél már kiválóan belőtték a hangzást, a Sisternél sem volt semmi kivetnivaló a megszólalással, akkorát ütött a banda, hogy még. Ellentétben a Summer Rocks-szal Eddie-nél nem merültek fel technikai problémák, gördülékenyen, olajozottan ment a show. A SHOW! Dee Snider 55 évesen úgy tombolt, rohangált a színpadon, mint egy ereje teljében lévő, 20-21 esztendős fiatal titán, irányította a műsort, énekeltette a közönséget, a hátán vitte a produkciót. A sajtótájékoztatón mutatott negatív magatartása ellenére is azt mondom, hogy ő minden idők legnagyobb frontembere, showmanje, hangja mit sem kopott az évek során, elemi erővel törtek fel üvöltései illetve az olyan klasszikusok, mint a The Price vagy a The Fire Still Burns dallamait is mindenféle erőfeszítés nélkül énekelte ki. Képtelenség volt fotózni a sajtóárokból (csak az első három dalra kaptunk engedélyt), egy óriási szőke, göndör hajtenger volt csak látható belőle, megállás nélkül mozgott, bejárta a színpad minden egyes négyzetcentiméterét. Ezzel szemben Eddie, Jay Jay és Mark egy helyben állva, statikusan pengettek. Felesleges hosszasan méltatni a programot, ugyanis ezekkel a dalokkal nem lehet hibázni, a metal/rock történelem legnagyobb klasszikusairól van szó, különösebb kommentárt nem kell hozzájuk fűzni (pl. Shoot ’em Down, Under The Blade, You Can’t Stop Rock ’n’ Roll). Annak ellenére, hogy mindenki tudta mekkora buli lesz, a negyedikként elhangzó, súlyos, lassú Captain Howdy-t nyugodtan nevezhetjük meglepetésnek, lévén sosem volt a korai Twisted Sister koncertek repertoárjának szerves része. Egy hibátlan dalokat felvonultató koncertbe elméletileg nem lehet (szabad) belekötni, én most még is megteszem, mert A. J. Pero dobszólója teljesen felesleges volt, akkor inkább már játszották volna el a We’re Gonna Make It-et, az I Am (I’m Me-t) vagy a Ride To Live Live To Ride-ot. Amúgy Pero dobszolóját az AC/DC klasszikusa, a Whole Lotta Rosie követte, mintegy tisztelegve az ausztrál csapat előtt, egyben kinyilvánítva, demonstrálva, hogy honnan indult el anno a zenekar, milyen hatásokból táplálkozik muzsikájuk. Ahogy az várható volt, a We’re Not Gonna Take It-nél és az I Wanna Rock-nál Snider mester megéltette a közönséget, félelmetes volt, ahogy a Burn In Hell-nél piros lámpa világította meg, tehát mindent megkaptunk, amit vártunk. Rettentő szimpatikus volt Jay Jay French beszéde, melyben a gitáros kifejtette, hogy a metal nemzetközi muzsika, kapocs az emberek között, összeköti az embereket, míg a pop, a rap stb. csak trend, jönnek és mennek, az olyan nagy bandák, mint a Motörhead, a Black Sabbath, az AC/DC, a Judas Priest vagy éppen ők ennyi év után és sok szarságot leküzdve még mindig talpon vannak és hogy eddig eljutottak, azt a rajongóknak köszönhetik. A mintegy másfélórás műsor végén (a ráadásban) a Come Out And Play és az S. M. F. adták meg a kegyelemdöfést. A korosztály összetételét illetően, a skála a 8 évestől a 60 évesig terjedt, magyarán a csapat muzsikája korosztálytól független és abszolút időtálló. A Twisted Sister jött, látott és (újra) győzött, azonban a koncert után már nem volt módunk találkozni velük, mivel felmentek a buszba és úgy elhúztak, hogy magukkal sem találkoztak.
Sch-dt barátommal azt taglaltuk a műsor után, hogy képességeiket tekintve a zenészek nem tartoznak a műfaj elitjéhez, krémjéhez (ez különösen Mark Mendoza-ra igaz, aki végig csak csapkodta a bőgő húrjait), mégis egy nagyon jól összerakott és felépített csapatról, klasszikus lemezekről, dalokról beszélünk. (Tulajdonképpen úgyis fogalmazhatnék, hogy a Twisted Sister Dee Sniderről szól). Egyértelmű, hogy bőven kiérdemelték a halhatatlan státuszt, történelmet írták, megkérdőjelezhetetlen, hogy a Rock ’n’ Roll Hall Of Fame-jében van a helyük. Egy újabb páratlan és meghatározó élménnyel gazdagodva indultam haza a program után, remélem mihamarabb újra kis hazánkba jönnek. Képtelenség őket megunni.
Dr. Feelgood

Actual Playlist

2011-07-04T23:57:00.000-07:00

1. MORBID: Year Of The Goat
2. TOXIC TRACE: Torment
3. ORIGIN: Entity
4. E-X-E: Stricken By Might
5. JUDAS PRIEST: Screaming For Vengeance
6. PESTILENCE: Consuming Impulse
7. DOWN: Nola
8. ASPHYX/HOODED MENACE: Split 7"
9. SYMPHONY X: Iconoclast
10. BLACK OATH: The Third Aeon

Current playlist - Actual faves

2011-06-13T00:59:00.000-07:00

1. MORBID ANGEL: Illud Divinum Insanus
2. HATE ETERNAL: Phoenix Amongst The Ashes
3. ANVIL: Juggernaut Of Justice
4. BLACK OATH: The Third Aeon
5. NADER SADEK: In The Flesh
6. NASTY SAVAGE: Indulgence
7. ATHEIST: Piece Of Time
8. TOXIC TRACE: Torment
9. METALLICA: Kill 'em All
10. KREATOR: Terrible Certainty

Twisted Sister Mania

2011-06-12T00:35:00.000-07:00

1. TWISTED SISTER: Come Out And Play
2. TWISTED SISTER: You Can't Stop Rock 'N' Roll
3. TWISTED SISTER: Live At The Hammersmith
4. TWISTED SISTER: Stay Hungry
5. TWISTED SISTER: Under The Blade
6. TWISTED SISTER: Singles and Ep-s
7. TWISTED SISTER: Live from Rochester New York - Rochester War Memorial, 1984. 07. 18. - bootleg
8. TWISTED SISTER: Twist Of The Wrist - Live in Rochester, 1984. 10. 14. - bootleg
9. TWISTED SISTER: You Can't Stop Rock At Donnington - Live at the Monsters Of Rock Festival, 1983. 08. 20. - bootleg
10. TWISTED SISTER: Deetroit Disciples, Live at the Fox Theatre - Detroit, 1986. 01. 30. - bootleg

Onslaught interview with Nige Rockett

2011-06-07T03:14:00.000-07:00

1986 was the best year for metal, a lot of classic, influential masterpieces were released this year, such as Eternal Devastation (Destruction), Pleasure To Kill (Kreator), Reign In Blood (Slayer), Darkness Descends (Dark Angel), Doomsd`y For The Deceiver (Flotsam & Jetsam) to name a few. Although the British bands didn't belong to the top of thrash metal, Onslaught were a very good act, their masterpiece The Force came out in 1986 too. The record celebrates its 25th jubilee, so I got in touch with guitarist Nige Rockett to speak about this classic record.

So Nige, since The Force album celebrates its 25th anniversary, I want to talk with you about it, all right?
Hi My friend, yeah that’s cool, it would be a pleasure…!
Do you still remember at which point did you start writing the material for the record? How did the song composing go as a whole?
I remember it very well.. We used to rehearse in a local youth club, we wrote all the material for THE FORCE during these sessions over a period of about 6 months.. I would work on music and lyric ideas at home and bring them to rehearsal where the band would develop them into full songs..
Some changes happened compared to the first album; first you left COR (Children Of Revolution) Records and you were signed by Under One Flag/MFN, how did that happen? Was it a good decision, in terms of promotion, label support etc.?
Yeah COR records was a very small label run by a friend on a government scheme, he did a fantastic job with the release even though he had very limited resources, the record was a real big seller worldwide for a debut album and really brought great attention to the name of Onslaught… so much so that we were contacted by MFN records who were interested in releasing the bands second album.. We had no contract with COR and they were very happy to see us move to such a big label as MFN.. It was a real big deal for Onslaught, as MFN had bands such as Metallica and Anthrax on their roster, so yeah it was a very very good decision for us.. The label were awesome and the support and promo really was excellent, which really helped us take the next step up the ladder..
Was only Under One Flag that showed an interest in signing the band by the way?
They wasted no time in asking to sign the band after the immediate success of Power From Hell, and they were the only label that we wanted to work with, so any other label never existed as far as we were concerned…..
Former vocalist Paul Mahoney took over the bass duties, while former bass player Jase Stallard switched to rhythm guitar and a new singer Sy Keeler joined the band, can you tell us more about it?
It was in our rehearsal room where we met Sy Keeler.. He came along to a rehearsal one night with a crew member just to watch and by the end of the session he was part of the band hahaha.. We heard he was a good singer so we asked him to have a blast with one of the new songs, he sounded so cool we offered him the job there and then…
We had been thinking about adding a second guitarist for sometime and when Sy appeared it really finalized our decision. Paul Mahoney was also a bassist and Jase Stallard could play guitar so it was an east transition to make. We just reshuffled the personnel and gave the band a totally different sound…
What can you tell us about Sy’s musical background? Did you perhaps audition other singers too besides him or was he the first choice being the singer of the band?
Sy Keeler had never been in a band previous to Onslaught, as I said earlier it was just spontaneous decision to have him join the band, we weren’t even looking for a new vocalist..
Did Sy have a big hand in the songwriting or was the material ready and written, when he joined?
All the material was already written for The Force album when Sy joined, he just added some of his own vocal melodies and obviously delivered the songs in his very own style..
During January/February 1986 you entered the Martix Studios with Dave „Death” Pine, what about the recording sessions? Were you more prepared than with the previous album? Did you have a decent budget to record the album?
Yeah were pretty well prepared we had rehearsed hard before entering the studio and got everything as precise as possible, we are definitely not a band to write in the studio... We had 2 weeks to make the recording, which was cool and yeah the budget was fairly decent, Matrix was a decent studio, the Sex Pistols recorded ‘Never Mind the Bollocks’ there which we thought was awesome to make our record in the same place as them….
The Force shows a great development compared to Power From Hell, was it a natural progression or did you work extremely hard on it?
It was a natural development, but we also worked very hard at it… the progression was purely down to an improvement in our musical skills, lots and lots of practice enabled us to have the ability to write and perform better songs…
Most of the songs on here are quite long, going into the 6 minute range, but without becoming overlong, what do you think about it?
Yeah, we just let things follow a natural course, I think there are maybe a few parts we could have cut back and made shorter in retrospect, but there are no unnecessary sections to the songs, every part is crucial to the overall picture of The Force album… we liked using lots of tempo and rhythm changes to make it an interesting album, Power From Hell was quite one dimensional by comparison..
Would you say, that newer musical influences happened to you/were hit by you? I mean, your musical range of interests became wider and in my opinion, The Force is very similar to the Bay Area scene…
No I don’t think so… our influences never changed and are still the same today, the changes were purely down to an improvement in our musicianship, nothing more really…
How do you explain, that the songs had been more matured than on the debut, but the songs didn’t lose any brutality, heaviness or speed and on the contrary, songs like the rhythmic opener „Let There Be Death”, the mid tempo hammer „Metal Forces” or the speed massacre „Thrash Till the Death” with its great break are the best or at least, one of the best examples of 80s thrash metal?
Thank you, real kind of you to say…. We were just learning to become better song writers at the time, the heaviness was always gonna be there, but we had now learned to refine the brutality and channel it in a more mature kind of way..
Is it correct, that „Metal Forces” was dedicated to Bernard Doe’s magazine, because he was very supportive of you?
Yes, of course.. Bernard Doe was very instrumental in helping Onslaught climb the ladder so quickly. He ran a great magazine and was so supportive of the band in the early days, I believe he also recommended that ‘Music for Nations Records’ should sign the band, which they did and that’s exactly why we are here talking right now :)
The Force is an excellent album from beginning to end, all killer no filler, right? What are your favourite tracks from the record?
That’s our intention with every record we make, we try our best to have no fillers at all.. My favourite track is probably ‘Let There be Death’ It still sounds so cool to play live, I love all the changes in the song, its just real fast and heavy with lots of hooks…..
Do you agree with, that you tightened up your sound, with a much sharper-sounding riff assault that is pure thrash metal and The Force sounded better than the debut? Was it an even stronger effort?
Definitely a stronger album than ‘Power From Hell’ no question.. PFH was very raw and basic but The Force is much more refined…
What kind of reviews did you get back in the day? How much like the Onslaught fans the record?
All the reviews were amazing, I never actually seen one poor review for ‘The Force’ which was very cool. The press and the fans really loved the record and still do in 2011, which cannot be bad…
The Force came out in 1986, in the year, when influential classics, such as Master Of Puppets (Metallica), Doomsday For The Deceiver (Flotsam And Jetsam), Reign In Blood (Slayer), Darkness Descends (Dark Angel), Pleasure To Kill (Kreator), Eternal Devastation (Destruction) etc. were released, were you familiar with these outfits and albums? In your opinion, did thrash metal reach its peak at this point?
Yeah of course we knew these bands, I think 86 / 87 Thrash really hit a peak, there were so many great bands and great album releases around this time, the scene was intense and very cool….
What were the show sin support of the record? Can you tell us more about your gigs?
We played so many shows around this time in Europe, it was total insanity every time.. We loved all the stage diving and actively encouraged fans to join us on stage, there were some very violent crowd reactions back then… quite a few venues got torn up and literally destroyed.
I have a bootleg in my collection titled Hell in Copenhagen 28.03.87, are you aware of this release? Does it really represent/capture Onslaught’s live brutality?
I am aware of the bootleg but I have never actually listened to it….
Did Onslaught leave its mark with The Force on the thrash scene? Do you name it an influential, classic thrash record? Is The Force the best thrash record, that came from England/Britain?
Yes definitely, it's not a perfect release but it has been hailed as a classic Thrash metal album and that’s a very big honor for Onslaught…. Haha no, ‘Sounds of Violence’ is now the best thrash album to come from the UK… ;)
Although some thrash bands appeared in Britain (England) during the middle of the ’80s, such as Virus, Deathwish, Xentrix, Sabbath, D. A. M. etc., would you say, that thrash metal hadn’t such a strong background, like in Germany for example? I mean, the British thrash metal bands didn’t manage to breakthrough…
In terms of bands the UK has never been that strong for producing real good ones, its strange because there are many many many Thrash fans here.. But we never had a good band scene, there just were not the amount of musicians that there were in the US or Germany…
After the release of the record began a new chapter/history in the career of the band (I’m thinking of the line up changes and the change of your music), how could you sum up that period? I mean, ’til the release of the In Search Of Sanity album?
The ‘In Search of Sanity’ period was not a good one for us to remember, too many negative things happened in this time and it would eventually lead to the band breaking up. There was just too much outside influence for us to deal with.. But now we are back and very very strong once again just like the old days, lots of fire and more brutality than ever before….!!!!
Thank you for the interview my friend, see you soon
Nige

Interview with Michael Zaputil (Sexist, Agent Steel)

2011-06-07T01:47:00.000-07:00

Mike, do you still remember, how did you discover music and how did you turn into hard rock/metal?
My parents always had music in the house, my father was a radio announcer/DJ in Billings, Montana in the 1950’s, so he had had a shit-load of records. All bigband, polka,& swing music from the ’30s, 40’s and ’50s. He HATED rock music, so you can about imagine what he thought of the music his son made. He attended only one Agent Steel show we did at the Whiskey in late ’86, he shook his head and left before I had a chance to introduce him to Dave Mustaine and Dave Ellefson who were backstage with us in support. Oh well. I discovered hard rock on the radio when I was about 11, but also discovered and loved (and still do) the ’60s and ’70s soul and R&B at that time as well.
At which point did you decide playing an instrument? Was bass the first instrument that you’ve picked up?
My first instrument was the accordian, at 8 years of age, my folks being Croatian (Yugoslav) and German/Hungarian set me on that path, as you would figure. I was really a good player, read sheet music and did recitals at the school I was trained, and everything, but I hated it, they had to force me to practice. I picked up guitar at 15, but my brother got a bass guitar at a swap meet so I started playing that as well. I only switched to bass because no one else at the time played that instrument well. In a way, that was a good thing because I play the bass very guitar-like, alot of chords and with a pick so I can play very fast rhythms and licks. This style I formed from punk rock, Klaus Floride of the Dead Kennedys especially.
Do you play other instruments too?
Nowadays aside from bass is my guitar, which I use to write material with.
What were your influences become a musician? Were you self taught or did you often take lessons?
My influences began with Geezer Butler. Self taught. I took a couple of lessons from the guy in Steppenwolf, can’t remember his name when I was 17, in 1977. I decided it was a waste of my time, so I did what I always did and taught myself songs from my favorite records, usually Black Sabbath and Alice Cooper, and sad to say, Kiss. (I hate Kiss now, lol!) Around 1980 I started listening to the DKs, and took it from there.
As for you musical taste and interest, were you into established, well known outfits or did you rather prefer the underground ones?
I was into the typical mainstream stuff (see above) at first, not knowing any better until about 1979 a friend that I grew up with was really into punk rock and turned me on to the Sex Pistols, the Clash, X, Black Flag, Germs, and the Dead Kennedys. A whole new world opened up for me with those bands, but I also got into stuff like Wall of Voodoo, The Tubes, Oingo Boingo, Killer Pussy, X-Ray Spex, Plasmatics and a lot of out-there stuff. To this day, I always prefer the underground- it is by far much more honest, interesting, and real to me.
Being based in Los Angeles, what do you recall of the early ’80s L. A .scene?
Well, I haven’t been based in L.A. for twelve years, however back then it was an interesting time. If you were into punk, you had the Circle Jerks, Fear, Black Flag, X, etc. on the outskirts of town. On the Strip, you would have Y&T (Yesterday & Today) come down from San Francisco to play at the Starwood, you had the early Quiet Riot and London, Ala Carte, and Snow, you even had Judas Priest come over to play in the clubs back then, believe it or not.
Would you say, that it was great underground buzz with a lot of new bands, that started their career, such as Armored Saint, Metallica, Slayer, Shellshock (later known as Dark Angel), Vermin, Sceptre etc.?
Absolutely. It was like we were all like-minded, we all discovered Judas Priest, Scorpions and Iron Maiden, but had punk influences too. We all grew up on Black Sabbath - the band that started it all. Well sort of, alot of us like myself learned hard rock from Cream, and Jimi Hendrix.
Do you think, that the L. A. scene was divided into two parts? There were the glam/hair bands (Mötley Crüe, W. A. S. P., Ratt, Dokken etc.) and the thrash/speed/power etc. underground ones…
Oh yes, you got that right. There was always these two concurrent scenes going on, at first it was the punks vs. the Hollywood hard rock hair people, then the European influenced thrash bands took the punk’s place. Sometimes, stupid club bookers would force us to play together, not a good idea. We did not like them, it was almost a gangland sort of thing, I had punk-thrash friends who would kick a glam-metaller’s ass every chance they got. I did not approve of this, but that’s the way it was.
Was it hard the metal bands getting shows? Were they overshadowed by the glam/hair outfits?
Pretty much, especially when slam pits got going in about 1984. Not to be confused with the slam-dancing/pogoing the punks did many years earlier. That is why alot of us went to San Francisco to play, they were much more open to our type of thing. Los Angeles was completly over-run with faggoty poser metal stuff. Mustaine use to call glam Gay L.A. Music.
What were the clubs that started opening their doors for metal at this point?
Two come to mind, the Woodstock, and Radio City, both in Anahiem (Orange County). Strangely enough, those two clubs were literally next door to each other. Another place was called Dancing Waters, down in a city called San Pedro, off the coast. Down the coast from there, in Long Beach was a place called Fender’s Ballroom. But the real mayhem occured in two places-the Olympic Auditorium and the Balboa Theater, both downtown. Not for the meek or timid, let me tell you.
Please tell us about your early musical experiences as musician! Was Sexist the very first band, that you’ve played in?
No, I had played in many outfits not worth mentioning, however I was a member of Armored Saint and Malice before that time. I even went down to Lars Ulrich’s place in an attempt to form a band in 1981, but he was such a shitty drummer I never called him again. Who would have thought? I also tried out out for W.A.S.P. but I guess Blackie didn’t think I was tall enough, lol!
How and when did Sexist form exactly? What about the musical background of singer Dan Mateik, guitarists Doug Pittam and Mark Anderson and drummer Robbie Blackmore? Robbie and Mark played in Energy before, correct?
Yes, Robbie and Mark and Dave had Energy before. I happened to catch one of their shows at the Troubador, and wasn’t impressed. Sexist was a band that Doug Pittam and his asshole brother Tommy had with Gilby Clark on bass originally, believe it ore not. Their band dissolved, so Doug and I re-started the band from scratch and Jake Williams ( E. Lee) was our first lead guitarist.
Before Mark joined the band your guitarist was Jake E. Lee, but he left the band to play for Ozzy, right? Did you consider him a talented guitarist by the way?
Yes, an amazing player, but he was incredibly arrogant. He was into punk rock however, so when I’d pick him up to drive down to Redondo to band practice, we would listen to the Germ’s first record, maybe some Ramones. He didn’t have a pot to piss in back then, had no money, car, or anything else. Just his axe and his Marshall half-stack. He was cool to me, but he treated Doug like shit. After he left to join Rough Cutt, before Ozzy, me and Doug hooked up with the three Energy guys somehow.
You released a four track demo including „Fire & Wind”, „Friday Night”, „The Jet Stream” and „Slice Of Life”, do you still recall, how was the demo recorded?
It was at a place called Total Access Recording in Redondo Beach, Doug was drunk thru most of it, but we got the tracks down somehow. By the way, I hated this stuff we were playing, but there just wasn’t anything else for me at that time.
Was it the first recordings experience for all of you?
For them, yes, for me, no. I was in a Led Zep wannabe band called Angeles when I was 19, about ’79 or ’80. My first recording experience was with them.
How would you describe the demo as a whole?
Interesting, though a lot of time wasted so certain members could go out and score some coke.
Through which channels was it spread around? I mean, did you send them to fanzines, radio stations, was it available at record stores and stuff?
I answered an ad in a newspaper called the Recycler where Brian Slagel was looking for bands to record. I sent him our demo when it was done, and it was as simple as that. He called me after that, and the rest is history.
How did Don Dokken end up becoming the producer of the demo?
Hate to say it, but he and Doug Pittam were partying buddys there in Redondo, so he asked him to help out with backround vox, and then he (Don) then took the bull by the horns and produced the whole thing. Maybe that isn’t fair of me, Doug did know Dokken for quite some time.
„Fire and Wind” was featured on the Metal Massacre III compilation, was it good opportunity drawing the fans attention to the band?
Actually, nothing really changed for the better. Immediately after MM III came out, Doug was fired from his own band for his chronic alcoholism. I didn’t want it that way, but the other guys would have it no other way.
How did you get the offer being featured on this legendary record at all?
Like I said above, it was really nothing more then sending Slagel our demo.
Did this feature open some doors for the band?
I wish I could say yes, but things within the band went to a downward spiral, after that. Our new singer, Robert Sykes, Mark, and Robbie Blackmore were adament. They no longer wanted to play with Doug, and they wanted to start a new project altogether- that being Letchen Grey.
In your opinion was Brian Slagel very supportive of young, unsigned, talented metal bands?
Of course, who else was there? There would be no Metallica, Slayer, or even Megadeth if it wasn’t for him. One could argue that Jon Zazula (Megaforce) had his place in getting unsigned metal bands recognition, and in a way that was true, but in L.A., it was all Brian. One thing of note, Brian turned down Agent Steel. Zazula was very interested and was gonna sign them originally, but couldn’t come up with the money John (Cyriss) wanted, so they went with Combat Records instead. I wasn’t in the band at that time, but I knew Juan, Chuck, and John very well, and kept in touch, so I knew what was going on. I was there to observe the drama when Juan and John left Abattoir to form A/S as well.
Why and when did the story of Sexist come into the end?
When Doug was fired, we scraped Sexist altogether, because it was his name, and morphed into Letchen Grey. Interesting side note, Doug and John Cyriss were good friends, they went to G.I.T.(Muscian’s Institute) together.
You joined Agent Steel, while Robbie and Mark founded Letchen Grey and released an Ep titled „Party Politics”, but what did Dan Mateik and Doug Pittam do? Were they also involved in several outfits?
Actually, I too was in L.G. for two years, a founding member, starting in late ’83, but I was never happy with what they were doing musically, so I left in late 1985. The only reason I stayed on with them at all was the women and drugs. Sad to say, but true. When John found out I was available again, he immediately called me. What Doug and Dan did afterward, I have no idea. I think they were both good guys, just not that talented.
Was Letchen Grey an improved line up of Sexist?
You might say that, however Mark on guitar in my opinion was a complete incompetent, one of the main reasons I left, aside from the crappy songs he was writing. Plus I was so musically incompatible with them. They loved Kiss, Bad Company, and Led Zeppelin-bands I can’t stand, while I really loved Slayer, the Sex Pistols, and the Dead Kennedys, they couldn’t understand why I loved those bands so much, a mystery to them.
As for you, please make the things clear, because I read, that you played in Malice too. Did you only help them out, were you a session musician? At which point was it exactly?
I played with them for two or three months in late ’81. It became more and more clear to me the more I worked with them that the guitarist Jay Reynolds was a complete jerkoff, and I was wasting my time. Sorry for the strong words, but its true. One need only read Mustaine’s (there I go, bringing him up again!) book where it mentions his bad experience with him to know what I’m talking about. Believe me, we are not exaggerating about this. No wonder they made only one album, on a major label no doubt, and still failed miserably. Last I heard of Reynolds, he was hired, then fired from Metal Church, then went to prison, for what I couldn’t tell you.
Do you still remember how and when did you join Agent Steel to replace George Robb? What was the problem with him?
The problem became evident when the band was recording the Mad Locust Rising EP in late 1985. The recording engineer informed John and Juan that the tracks Robb was putting down were barely usable in a professional capacity. John called me and asked if I was available to finish up the project, but I just didn’t have the time. They then went with what they had, but fired George soon after. A few months later, John called me after I left Letchen Grey, I then accepted, and joined the band. When the EP came out, they gave me full credit for being on the album, photo picture and all. I didn’t think that was fair to Robb, but that is how they wanted it. Abattoir had just done the same exact thing to Juan, on their first release on Combat.
Were there auditioned other bassists besides you or were you the first choice?
Nope, John didn’t waste any time. Once he found out I was available, that was it.
To which extent were you familiar with Agent Steel and with the previous bands of the members, such as Vermin, Sceptre (John Cyriis), Abattoir (John and Juan Garcia)? Were they kind of cult L. A. underground bands?
I knew all of them. I went with John when he auditioned for Scepter(on guitar). They were two brothers, the Sardos, who had that band. John ended up marrying their sister Layla,(yep, just like the Clapton song) and had a son with her. When that didn’t work out(both with the band Sceptor, and his marriage), John decided to switch to vocals, instead of guitar. The first band he sang with was Medusa, the same band that appeared on Metal Massacre III with Sexist. He quit them, and then joined Abattoir. He did the Screams from the Grave demo with them, then quit again. It was at this time I met Juan, very late 1983. It was also at this time Dave Mustaine happened to hear the Abattoir demo right as he began Megadeth. Cyris was his first choice as a singer. They got together for a few weeks to try and work things out, but I don’t think they clicked together very well. Dave was a heavy drug user at that time, and John wasn’t at all. Plus, they were both very strong, personality wise, they both had their own ideas as to how to proceed, song-content wise. This is an important piece of history many people don’t know, that John was gonna be in Megadeth, and I’m surprised Dave didn’t mention this in his book, as this was very significant. Megadeth and Agent Steel however did go on to have a friendship, being lablemates on Combat, and all. Juan is a very close friend of Mustaine to this day. John then had a brief fling with Vermin, in 1984, which I thought was a very good, heavy, fast band. He stayed with them for most of that year,but quit them because he thought they were too punk influenced(not a bad thing in my eyes at all), then got together with Juan, Chuck, and George, in August of 1984. Agent Steel was born.
Do you consider Abattoir as one of the first speed metal bands by the way?
Well, to be honest, no. But they were miles and miles ahead moving metal forward to the future then bands like Armored Saint and Malice which were stuck in the past. You mentioned Vermin, which I thought never got the credit they deserved. They were doing the crossover punk/thrash thing a full year and a half before anyone heard of D.R.I., or Stormtroopers of Death. I would say that the first speed metal songs were as follows: alot of Judas Priest’s Sin after Sin album, Exciter on the Stained Class album, and He’s a woman, She’s a man on Scorpion’s Taken by Force album. Also, much of the Virgin Killer record. Those were the songs where it really all began, but I must mention also the first two Iron Maiden records. That was what really lit a fire under everyone’s ass, so to speak. But really, that title belongs to Judas Priest and Exodus.
Do you think, that Agent Steel made their mark incorporating all the aggressive elements of the Bay Area Thrash scene with soaring vocals inspired by Metal gods Judas Priest and Iron Maiden?
I think the Bay Area thing in the media was a bit over-generalized. They lumped everything going on in California in one place, and it just wasn’t that way. I mean, really, the bands that changed the world forever came from Los Angeles, that is just a straight-out fact. With the exception of Exodus.You hear about the so-called Big Four of thrash. Anthrax is one of those bands out of default. We –Agent Steel may of been one of those bands, but lost our place because we fucked-up so badly in a critcal time when we (and our management) should have been making better business decisions. I may get strong and violent disagreement on this, but that is how I see it. Thrash metal was borne and bred in Los Angeles, that is a fact that some need to deal with. The other cities-New York, and San Francisco, copied us. Again, Exodus being the exception. They were at it a long time, they were one of the first, and they deserve all the credit they get, if not more so. I think they deserve to be one of the Big Four over Anthrax too, my opinion, kids don’t get excited –lol! Now, I’m talking about modern thrash as we know it, not the earlier influences like Venom, Priest, or Motorhead.
In fact, Kerrang magazine dubbed Agent Steel, Iron Maiden on speed, right?
Yep, they sure did. I was always trying to get the guys to do the song Iron Maiden(from their first album) Agent Steel style. That would have been a hoot, don’t ya think?
What was your debut at all? I mean, did you perform some shows to check out your skills before you started writing the material for the second album titled Unstoppable Force?
Naa, they knew full well what my skills were. I’d known Chuck and John for five years by that point, and we had tried many projects together before this. When I joined, it was straight into a writing situation, immediately. No time wasted. They needed material for a new album post-haste. The song Unstoppable Force is my music alone, with John’s lyrics. Everything else on that record was a collaboration between all five of us. My first show with them wasn’t until we began our first European tour. It was in Antwerp, Belgium, and it was a disaster. It was in this old airplane hanger they turned into a venue, solid concrete everywhere, even the ceiling. Terrible acoustics. On stage, it sounded horrible, we could barely hear each other properly. But it was what it was, and we got thru it.
How about the song composing considering Unstoppable Force? Was the material ready when you joined them or did you have a big hand in the songwriting?
See above. I would say they gave me a lot of freedom to contribute. They had some ideas ready to go, but nothing complete. A lot of re-arraingment going on.
Have you recorded some pre-production demo and stuff? Did Combat ask you to hear the newer material before you entered the studio or did they still have complete confidence into it?
Yes they did request pre-production, but we went straight in, and banged that record out as we saw fit. Combat was gonna take what we gave them whether they liked it, or not. We had our vision, and we wern’t going to compromise on any level. As it turned out, I’m glad they saw it our way in the end.
How long did it take to write Unstoppable Force?
The writing part was very quick, we had a lot of ideas that went together fast. Recording it took some time, as we had to interrupt the process to go on tour. Plus, when we got back, John pulled some shit which I will get into later.
The album was recorded at the legendary Morrisound Studios in Tampa, what made you to record the material in Florida?
That was John’s idea. He wanted to be there for inspirational reasons.
Is it correct, that the band moved to Florida that John and Chuck wanted being closer to the Bermuda triangle?
Well, we didn’t move there to record, just stayed for the duration of the work being done, but later on, (early 1987) those two did, and I’ll address that very issue later on in the interview.
Unstoppable Force was one of the first records (besides Nasty Savage’s debut), that was recorded at the Morrisound Studios, would you say, that was a kind of work preference (preference work) of Scott Burns considering the future?
No, it was entirely John and Juan’s choice.
How did the recording sessions go? Can you tell us detailed about it?
It was alright, John was the most professional in that situation than I ever saw him, before, or after. Us four in the band were sharp as a knife, our parts didn’t take too long to record at all. Our recording and mixing engineer, Tom Morris really knew how to get the best out of us as well. One of the things he would do is write different shit on Chuck’s drum heads like ’’HIT ME HARD YOU FAG!’’ to motivate him to pound loud and hard for the sound he was after. We lived in the Embassy Suites in downtown Tampa for that month and a half, but boy did we ever rack-up a bill staying there. I remember that time, it was March of ’86, Metallica had just released Master of Puppets. Juan and I found a record store in town, and bought a tape of it, we just had to know what they were up to. He and I were impressed, John thought it sucked. It figured, he was listening to nothing but Queensryche at that point. Also, the guys in Nasty Savage use to come by our suite and hang out. Very cool dudes, we went to parties they had going on in their hometown of Brandon, good times.
The band interrupted the recording for a few months to tour in Europe, you toured through the month of May with Anthrax and Overkill where the split video US Speed Metal Attack was recorded, what do you recall of this tour? Did you get on well with those bands?
Well, here’s the thing- when young, up and coming bands like the three of us are thrown together like that-same tour bus, same hotels, many times same eateries, same everything, there’s going to be be competition, we all had everything to prove. Plus, we didn’t know them, nor they us. So with that, there is going to be a lot of tension as well. I wish I could say we all got along, but not really. From the start, there was this New York vs West Coast attitude thing, also Megaforce vs Combat type of shit, but to be fair, alot of the crap was started more by their tour managers and crew members then the bands themselves. It certainly didn’t help that when John gets into a position where he feels threatened,or mocked, he gets very belligerant and in your face. John also brung over a friend of his that did nothing but cause problems. He use to push him over to fuck with Anthrax’s guitar tech, a very shy, nerdy, jewish kid named Irv. It was like school at times, a bunch of kids fucking with and teasing each other. Every one of us were 24 and under. Personally, I thought Charlie, Frank, and Joey from Anthrax were very cool guys, but I found Scott Ian off-putting and a bit of a stuck-up douche. The biggist asshole of all was a crew member that Overkill brought with them, a complete obnoxious, incendiary jerkoff. I have no idea what this guy’s problem with us was, he did everything he could to get us thrown off the tour, and start shit with us time after time unnecessarily. But all in all, I wouldn’t have missed it for the world, it was an experience very few people get to enjoy.
Was it an opportunity that you couldn’t miss out? Did the tour, the shows help the band getting new fans?
That tour projected us into a spotlight none of us had ever dreamed of, it was surreal. We felt like the Beatles, everyone was so enthusiastic and rabid about what we were doing. Constant photography flash in our faces, everywhere we went.We could do no wrong in their eyes. I kind of think the other two bands were jealous of the attention we were getting over them. Success for us at that point was easily obtainable, all we had to do was let it happen. Sad to say, we didn’t.
You returned in June to finish recording the album and it was released in 1987 due to delays in the recording sessions, what happened? What kind of reasons did lead to the delay at all?
It was at this point John became more and more difficult. He was holding the record company hostage, and was refusing to complete his vocals unless they came up with more money for him alone. In a word, he became greedy. He had them over a barrel, and took advantage of the situation. When he gets that way, there is no getting thru to him on any sensible level either.
Do you think, that the most improved aspect on this album compared to their debut album has got to be the guitar work, there are many more riffs in the songs, and no two songs are structured the same nor sound the same?
Oh absolutely. The first album’s music was very raw, basic, and punk-influenced, as four of the original members-everyone but John, were into punk rock. When Bernie came in, the song writing changed dramatically, he and John were much more on the same page as for more melodic arraingements.
Is the dual guitar approach of Juan Garcia and Bernie Versailles a highlight of the album? Are both their high-energy riffs and their slick soloing extremely memorable and catchy?
Yes, they became the new dual guitar team to follow in the footsteps of KK Downing & Glen Tipton, or Dave Murray and Adrian Smith. Juan and I however, really liked the dual guitar work done in Thin Lizzy as well, and emulated harmonies and soloing as such. I myself am to this day in awe of the work those two came up with, and am proud to have been a part of what they were doing. I am a fan of them both, and love them as good friends to this day.
The overall song composition is very well executed, right?
I would say yes, considering being on Combat and Music For Nations,(no major label) we sold untold numbers of records, so we must have been doing something right. I am very proud of what we did, wouldn’t change a thing.
How do you view, that the songwriting is catchy and contains loads of dynamics, the band knows when to slow it down to create a good song and when to speed it up?
Let me put it this way, Juan, Bernie, and I had that special connection that just worked wonders, its hard to explain, all I can say is that the writing chemistry was so right on, so perfect. Very rare to have that going on.
Are drum and bass magnificently done here, with a fair amount of fast double bass and grooving rhythms and both instruments are clearly listenable (audible)?
Yep, just listen to that record. With George Robb(not to slag him at all) the bass was barely audible. For needed reasons, I guess. With U.F., that changed, to much more over-driven bass and drums carrying things along. I felt that Chuck and myself could really kick people’s asses when we really got going.
What do you think about, that the bass has a rich organic tone and your work here is impeccable and highly memorable, and you almost has the same presence as the guitars?
It was all part of the vision we had. I played with Juan and Bern as part of a three-guitar team, if you will. I am always right there, riffing right along with them, it is all in my style of playing. Just like with my current band. There is very excellent bass work in the title track and Never Surrender for example… Well, thank you I tried. I can’t stand boring bass lines-drives me nuts.
Do you agree with, that compared to the debut only the speed was reduced a bit gets a lot more melodic?
We wanted to try many different ideas for Unstoppable. It was make or break time for us at that point, we needed to prove that we could do anything. Every song had to be outstanding, and no crappy filler material was acceptable, wouldn’t have it any other way. As it turned out, this was our seminal work.
How did The Ripper end up becoming on the Japanese version of the album?
That was a choice of the satellite record/distributor over there. We really didn’t have a say in that.
Were all of you satisfied with the end result or would you have changed something on the record?
Except for the very few clinks and mistakes my ears can hear on those recordings, I would say otherwise, nothing. We are very proud of our end product, and it stands the test of time.
Both Agent Steel album are excellent, classic heavy/speed masterpieces and the band succeeded in leaving its mark on the scene, correct?
I would say yes, but I want to be humble here, and not an arrogant jerk off. At the end of the day, we were writing and playing to please us. We wanted to put out music we would go out, buy, and enjoy ourselves, let alone anyone else. But we managed to impress alot of our peers as well. There also are a bunch of young bands now that tell us how much what Bernie, Juan, and myself did to impact their lives.
What were the shows in support of the record? How did they go compared to the previous ones?
Well, I wish I could say. Unstoppable Force was released in mid 1987. The lineup that recorded it had broken apart at that point. Juan, Bernie, and myself were doing other things by then. It was John and Chuck alone with new guys supporting it.
Internal difficulties forced Juan, Bernie, and you from the fold, what happened? Were the problems unavoidable or…?
This is how it happened-like I mentioned before, when it came time to finish the record, John was holding Combat hostage for more money. This was creating strife between us and him. We then did a showcase for no less then 7 or 8 major labels. At the end of the showcase, the same A&R guy from Capitol Records who signed Megadeth approached us, and shook all our hands, saying he thought we were great, and that he would get in touch. This was in December of ’86. Over the next several weeks they were in negotiations with our our management, and with Combat over money matters I won’t get into here. There was a pending deal going on.(unknown to most of us in the band). John then, out of the blue gave all of us band members a call, demanding that we move to Florida. We tried to talk him out of this foolishness, it was a piss-poor excuse to disrupt a successful band’s career for all the wrong reasons, but he wouldn’t listen. And it would have been nice if our management talked some sense into him, but they did no such thing, as a matter of fact, they enabled him.These were the people hired to know better, they were the adults in the situation. But they had the mistaken belief that John WAS the band, and thought everyone else was expendable. What complete, fucking idiots they were. How wrong could they possibly be? Juan, I, and Bernie, we had girlfriends, our families, and lives based in L.A., we mulled this nonsense over as to what to do, but we had no choice. By the way, the three of us were kept in the dark by them as to what was going on with Capitol, but we heard nothing, until long after the fact. So we told John, if that is where you want to go, then go, we are not interested, and this whole thing is very unfair and selfish of you. So he and Chuck went to Florida, and that was that. When Capitol got wind of this whole situation, they pulled the deal. They wern’t interested in us if we were this unstable and dysfuntional. John and Chuck re-formed the band, they did one more tour of Europe, then Agent Steel broke apart for good.
How would you describe personally John Cyriis whom I consider as one of the best singers of all time and who is my absolute favourite one? Why was it hard getting well with him?
I liked John. He was a fan of my talents, as was I of his. He is one of those rare people that the very same gifts he has, also drive him to destructive impulses. He would give me a place to stay, if I needed it, like any good friend would, but could be the most ridiculous, irrational, paranoid, out of control asshole ever. And usually over small issues that amounted to basically nothing. Another thing with him is, he has a tendency to be very selfish in his choices and movements without considering the other people involved. He is by complete definition, an enigma.
Richard Bateman, James Murphy and Jay Weslord joined the band, did you follow the band’s career?
At the time, no, wasn’t interested. It wasn’t until much later Chuck gave me some videos of their shows in London, and elsewhere.
What did you do after your departure from Agent Steel? Did you join The Mofo Homeboys right after that?
No, Bernie and I formed a project called Phobia that lasted a year. When that folded, he wanted to do other things, and I really wanted to do something more hardcore punk oriented. The Mofos approached me, so I joined up.
What about this band and their Peace In Anarchy demo as a whole? How did they sound like?
They were what you would call a ’’crossover’’ band I guess. I recorded both of their demos, with a bunch of my material thrown in, along with some Black Flag covers. We had an interesting sound, our vocalist Tom Baile sounded a lot like Kurt Cobain,(Nirvana) and Mike Ness of Social Distortion. The band’s music sounded like what Sick of it All does, only more sped-up. I thought they(the demos) turned out really well, Brian Slagel was very interested, but nothing became of that. This went on from 1988 to 1991. When I first heard Nirvana’s Nevermind record, I thought to myself Whoa! he sounds a hell of a lot like Tom!
The band usually played Agent Steel’s The Day at Guyana, correct?
Yes, but looking back, I don’t know why. We had plenty of our own material to go with, so we certainly didn’t need to go with that. I think they talked me into it because it wasn’t my idea. I had moved on (from A/S) by that point.
The Mofo Homeboys disbanded in 1991, did you follow what’s going on in the metal world, in the underground? Did the new trends (grunge, pop/punk, nu metal) almost kill the traditional metal?
I had quit playing for a while at that point, but I did follow Nirvana and Soundgarden, and the new crop of death metal, grindcore bands. I really liked what they were doing. And, yes, I think music fans had had enough of the hair-metal thing, for very good reasons, but Megadeth, Slayer, and Metallica went on to even bigger things in the Ninties, and I say good for them. Plus, you can’t deny all that was going on in Norway and Sweden at that time. Also the rise of bands like Death, Obituary, Cryptopsy, Cannibal Corpse, Nalpalm Death, and of course, Sepultura. Metal never went away, it was dormant for a time, but look, we have Lamb of God, Norma Jean, Slipknot, and a host of others, doing it up now.
Do you think, that a lot of bands lost the thread and started playing something new that wasn’t familiar with their original approach, such as Metallica, Megadeth, while a lot of bands got on hold or fell apart?
Sadly yes, Metallica totally lost it, in my opinion, and never got it back. Megadeth has been touch and go, some of the stuff Dave comes up with are alright, some-well, not so much. Slayer, on the other hand, has kept it going, who would have thought that these four green kids I saw playing the Troubador at one of their first shows would become one of my all-time favorites. Consistantly so.
After 10 years hiatus (silence) Agent Steel regrouped in 1998 with Bernie Versailles and Juan Garcia on guitars, you on bass, Chuck Profus on drums and Bruce Hall on vocals, how did you get together again? What were the background of the reformation?
Those three just called me one day, so I invited them to my home, we talked, then I helped them audition vocalists.
A lot of cult ’80s bands started working again at this point, such as Metal Church, Nasty Savage, Necrodeath etc., how did you view this?
I thought it was a good thing, I mean, why not? As long as you can still pull in a significant number of fans to your shows, then go for it. But they should have as many of the original members as possible, otherwise it becomes just a cover band.
Did you feel, that you found the perfect replacement in the person of Bruce Hall considering being the new singer?
I liked him as a person, but to be honest, I am not a big fan of his voice, but remember, this is my opinion, and the type of music I am now into isn’t really driven by the vocals anyway, so you should take that for what its worth. That said, I think he did a good job for what they did for ten years, and I do love the Omega Conspiracy album.
You recorded three demos (Agents Of Steel – including New Godz, Into The Machine, Fighting Backwards, Bleed Forever – 1998, a second demo – including Deny The Poison and Eradicate – also in 1998 and the Deny The Poison demo – including Deny the Poison, Eradicate, New Godz, Into the Nowhere, Fighting Backwards and Bleed Forever – 1999, how would you sum up these recordings? How did you write the songs?
Well, I have to be honest, I had left the project by that point, and wasn’t involved in any of those, as a matter of fact I had left California by that point too. Karlos Medina did the bass chores. He and I talked, and I gave him my complete blessing. He has done more with the band then I have, and I think the world of him, a truly talented and great guy. He however, is not in the band anymore too, and is now a cardiological examiner in a clinic in a California town named Temecula.
As for the first demo, some internet versions of the demo add the Black Sabbath cover version Sweet Leaf, but that is taken from the Hell Rules tribute album and was not part of the official demo, wasn’t it?
Don’t know, I wasn’t there.
Were all of these demos sent to labels to attract labels interests?
Probably.
The comeback record of the band was released in 1999 titled Omega Conspiracy, but why didn’t you play on this album? Why did you leave them again?
You have to understand that when they approached me, I was 38 years old and was pretty burned out. At that time, I had been slugging it out in the music business for 22 years,and after my previous project at that time which I had just spent 3 1/2 years, and a lot of time and money with had fizzled out, I had had enough. I had already bought property in Arizona(where I am now) and already had a job waiting for me there, and was about to get married and start a new life. You reach a point when you are tired of being broke, and not having anything, and putting in tons of hard work, your time, blood, sweat, and tears, all for nothing. Also, for all the records, CDs and what not that Agent Steel sold, I have yet to see a penny of it. Back then, our corrupt managment had us all sign promisary notes without the oversight of a good attorney, or even our parents, but we were dumb young kids-what the hell did we know? And I realize that time and again in this interview I keep bringing up things our managment did,or didn’t do, but it always seemed like at every important junction in our career, they did the wrong thing. Always. All that said, I love O.C., the material is excellent, and I wish I could have been a part of it. If they had asked me one or two years earlier, I’d have been all for it and right there with them. Totally bad timing again.
In your opinion, did it become a classic album too? Did it satisfy the needs of the Agent Steel fans? How do you view the other Agent Steel albums Order Of The Illuminati and Alienigma?
O.C. absolutly is, the other two, time will tell. But thats just me, a little too melodic for my taste.
Are you aware of John Cyriis returned to them?
Yes, but it is my understanding that he is already out of the picture, things didn’t work out after they toured Japan. They already are recording with a new singer named Rick, and sadly, they are having difficulties using the name Agent Steel again. Which to me is a joke. John never came up with the name ’’Agent Steel’’ a mutual friend of ours by the name of Brett Phillips did.
Mike, how would you sum up your career as a whole? What were the highlights and the lowpoints of your career?
My career as a whole, well, for obvious reasons I wish the payoff would have matched the hard work and effort put in, but I’m not complaining. I would have done the same thing again, but I wish I knew then about some things what I know now. A real low point for me was the last 6 months I was in Letchen Grey. I was beyond disappointed that after two years, and much gigging and recording, nothing much was really happening. I was seriously drug and alcohol addicted, I was depressed that I chose to score some coke or some crank instead of bettering myself musically as well as building my career. I was constantly going to jail that year(’85), drug possession, drunk driving, traffic warrants, assault and battery, all kinds of shit. I was also very unhappy with what we were doing in that band song wise, and it was not really their fault, they loved what they were doing, it just wasn’t my thing, the Sunset Strip hair metal scene. But that band did give some very high points, for what it was, we drew a lot of people to our shows, and it was fun in its own way. Agent Steel was of course, the very high point(when we were kicking-ass successful) and the very lowest, when we broke up. What was so pathetic was, we didn’t go out with a BANG as much as a whimper. Truly sad for the fans, let alone us. I use to be very bitter and angry at John, but no longer. Everything happens for a reason, I guess, but one can’t help but imagine what could have been. You have to move on, or go crazy.
Are you proud of playing (taking part) in Agent Steel?
My proudest ever. And let me say this, I am proud of people like you Les, and everyone who loved our band and loves thrash metal in general. This very Easter weekend about 275 miles west of me in Coachella California , the Big Four played. Juan was there backstage sending pics and videos to us on Facebook and it was crazy packed with thrash metal heads from all over. Those bands are almost 30 years old, and yet they still draw tons of people. Most of them young kids, like my 19 year old niece who was there, and her boyfriend. Yes, that does make me proud and happy. I like to think we, and the other bands in our genre, took what punk rock and English metal started, and took it to entirely new levels.
Thanks a lot for the interview, anything to add, that I forgot to mention?
Just one thing. (ok, maybe two). You haven’t heard the last of me yet. After twelve years of inaction, I was approached by some good friends of mine-the band Unforseen, to join up. They are Phoenix’s top thrash metal kings, my two guitarists and lead vocalist are half my age, but who cares?(bigtime Agent Steel fans btw). We can be found on Facebook either my page, or the Unforseen page there. Or go to unforseenonline.com. Incredible music, you just won’t believe how awesome this band is. Our upcoming CD release was produced and mastered by none other then our very own Bernie Vesailles. And let me just say that Les, you really did your homework on this, and came up with some very smart and well-thought out questions. And I wish you much success. One more thing, some of the comments said by me may seem more than a little harsh, and to the point, but everyone who really knows me knows what an opinionated bastard I am. I just call it as I see it. Some of my friends say (and also my wife) I am a music snob. Maybe thats true too.

Actual playlist

2011-06-07T01:07:00.000-07:00

1. ANATHEMA: Serenades
2. W. A. S. P.: The Last Command
3. BLOOD CEREMONY: Living With The Ancients
4. ANGEL OF DAMNATION: Carnal Philosophy
5. EXHORDER: Slaughter In The Vatican
6. BLACK COUNTRY COMMUNION: 1/2
7. ORIGIN: Entity
8. BLACKKOUT: Ignorance Of Man
9. DEATH ANGEL: The Ulra-Violence
10. RUNNING WILD: Black Demons On Stage (bootleg)

Current playlist (Actual faves)

2011-05-09T03:55:00.000-07:00

1. HATE ETERNAL: Phoenix Amongst The Ashes
2. EXTREME DEFORMITY: Internal
3. VOMITORY: Opus Mortis VIII
4. BLOOD CEREMONY: Living With The Ancients
5. HADES: Resisting Success/If At First You Don't Succeed...
6. MERCYFUL FATE: Don't Break The Oath
7. THRUST: Fist Held High
8. ANNIHILATIONMANCER: The Involution Philosophy
9. NUCLEAR ASSAULT: Game Over
10. INFERNÖ: Utter Hell/Downtown Hades

Mercyful Fate - Pictures of bootlegs

2011-04-30T07:31:00.000-07:00

Mercyful Fate - fourth part

2011-04-30T06:55:00.000-07:00

Then on April 30th, you began to work on the next release for the next 19 days, once again at Easy Sounds Studios, when did you start wrting the song for this second album, that became the excellent Don’t Break The Oath? Did the songcomposing something/somehow change compared to Melissa?
We wrote songs all along as we rehearsed after Melissa. There was no change to how we composed/arranged the songs. But the songs came pretty fast one after the other.
Were you more prepared then with the previous release?
Yes I think we were better prepared after having done it once before. We learned what not do and we knew how to improve our recording. It always helps with a little more experience. You learn things all the time.
On June 10th 1984, the band performed at the prestigious Heavy Sounds Festival in Poperinge, Belgium and beside Mercyful Fate, the bill also featured Motörhead, Twisted Sister, Metallica, Baron Rojo, Lita Ford, H-Bomb and Faithful Breath, what kind of memories do you have considering this festival?
Oh it was great. We had a lot of fun with especially Motörhead, Metallica and Twisted Sister. I remember sitting in the dressing room, when everything suddenly went black. I looked up and saw Dee Snider walking in the door to say hi to us. Man – he was big as a house and blocked the entire doorway. And of course we hung out with Metallica. When we went on stage it was early afternoon and the sun was burning down, so it was quite a sweaty performance.
Does it mean, that you did/hold a little break during the recording sessions? Did you perform some new tunes on this festival?
Was that in the middle of our recording? I can’t really remember, but you might be right. I think we played a couple of songs from the new album at the festival, but I’m not sure how many.
It was actually the first time the band played outside during the daylight, playing when the sun is shining doesn’t really fit to the songs which are quiet dark, so it loses too much of its atmosphere, but its a necessary evil as the band had to do it anyway, even though they preferred playing in the dark, how do you view it?
As I said above the sun was burning down on us when we went on stage, but we took it with good humor and made the most of it. We performed like we would have done anywhere else at night.
In May 1984, Mercyful Fate returned to Easy Sound Studios with producer Henrik Lund for the recording of their second full-length album, was it obvious for you working again Henrik with? Would you say, that you were on the same wavelength considering the work, the recording sessions?
We thought that Henrik did a great job on the first album, so it was natural to work with him again, and in my opinion it worked out quite satisfying. Don’t break the Oath is still one of my favorite albums with both Mercyful Fate and King Diamond.
How much did Henrik help for you? Did he suggest some ideas, riffs etc.?
He had of course some inputs to different things concerning the sound on the album, but the composition of the songs he never interfered with.
What about the recording sessions? Did you have a decent budget, more time to record the album?
Not really. But we didn’t need much time for recording as we rehearsed as much as we did. We knew the songs my heart and had everything worked out before we went into the studio.
Since Melissa became an influential masterpiece, a classic, were you under pressure considering the new album? Did the fans have a high expectation?
It rather think that we ourselves expected an even better 2nd album and I think we made it. I know Melissa has become a classic with many MF fans, but I still think Don’t break the Oath came out a little heavier.
It’s finally on August 10th 1984 that was released the album Don’t Break The Oath, which had to become another heavy metal classic album…Do you think, that the guitar playing is more technical, the bass and drum-work tighter and vocally and lyrically come close to the evil atmosphere King Diamond spews forth?
Yes as I mentioned above I think we were very well prepared for this album. And for my own part I had improved my bassplaying. I was far happier with my bass playing on Don’t break the Oath. And I also thing the guitars were better worked out.
The album is conceptually tight as a whole and tells a diabolical tale of Satanism, which for this era (the early 80s), was unheard of, how do you view this?
At the time when we recorded the album I found it very interesting to do a concept album, and I think King got a great horror story out of it.
The guitar solos are all unique in approach and technique and the rhythm playing is just as good as the solos, they have two very different styles yet they have a wonderful chemistry, correct?
Yes absolutely right. Michael and Hank worked so well together as guitarists, even though the are completely different in their style of playing. Michael Denner plays with a lot of feeling while Hank plays more aggressive. I’ve always compared them a little with the guitar pair in Judas Priest.
Is it correct, that many songs on the album previously appeared on some of the band’s earlier demos, sometimes under different titles, with different lyrics and arrangements? Did these songs change, develope a lot compared to their earlier, original versions? Did they become heavier?
Yes we played several of the songs earlier under different names. We worked on the songs as we rehearsed and improved some of the songs along the way. And yes I think we played the songs heavier along the way.
Some of them were actually written even before Melissa was done, such as Come To The Sabbath among others and this song, as well as The Oath were ready by the time the band did the Melissa album, but you preferred keeping it for the following album, right?
Yes thats right. We saved the songs because we thought that they didn’t really fit in on Melissa. And therefore we saved them for the 2nd album, so we could include them on the concept album.
Did sometimes the band end up in fights over whose songs were going on the album, because everybody wanted their own songs on the album?
No we actually agreed on the songs without any fights. We had the same kind of ideas about how the albums should be, and we always worked it out piecefully.
As for you, did you have a great hand in the songcomposing? Did you write your bassparts yourself?
I never wrote any of the songs, but I wrote my own bassparts. That was something I insisted on. Nobody interferes with my basslines. Of course we could talk about it if King for an example thought I did a little too much „running” on the bass when he had some singing parts. But we always worked it out without getting mad at each other.
Another song that was written for a while and ended on this album was A Dangerous Meeting, which was originally called Walking Back To Hell, and then retitled Death Kiss, wasn’t it?
Yes A Dangerous Meeting was originally called Walking Back to Hell and then Death Kiss before we rearranged it slightly and called it A Dangerous Meeting. It was mostly down to that King wasn’t happy with his lyrics and changed then a couple of times.
The song Welcome Princess Of Hell, was supposed to be Welcome Princes Of Hell, it was a title misprint, where the lyrics were correctly written in the original pressing but the title wasn’t…Is this the album that gained you real worldwide exposure? Were you on your peak at this point?
I think this album was the one that really opened op to worldwide exposure, but I wouldn’t say we were at our peak. Perhaps as Mercyful Fate, but personally I didn’t peak until the King Diamond days. By this I mean myself as a bassplayer.
Do you agree with, that, you are every bit as essential to the evolution of metal as Iron Maiden and Judas Priest?
I wouldn’t compare us to those two great bands. They are both more metal than we were. But you could say on the heavy part we were essential to the break through of Heavy Metal all over the world.
The cover of the record is one of the best one in the history of metal…
I agree with you. I think it’s become a classic and the one cover everyone combines to Mercyful Fate.
Soon after its U.S. release on Combat Records, the album became the first underground metal album to reach the Bubbling Under section of the prestigious Billboard magazine album chart; it came in at #202, just two slots of making the Top 200, was the band as „popular” in the U. S. as in Europe?
After the U.S. release we became very popular over there. I think we became even more popular in the U.S. than in Europa.
Shortly after the release of the album, the band fired co-manager John Kibble as you discovered that he recorded their gigs and sold the tapes falselly pretending these were real albums, which pissed off the band due to the lack of quality of these recordings, can you tell us more about it? Does it mean, that John caused a lot of harm for you?
That’s right we had to fire him after we discovered that he sold demo tapes and recordings, but I don’t think it harmed the band. I won’t go into details about the whole thing.
Is it correct the authorities found it and destroyed the whole lot, which represented around 5,000 to 10,000 copies? Didn’t you think about, although John earned a lot of money with the boots, this recordings spread more the band’s name in the underground?
I haven’t heard anything about police involved in this. It might have spread our name faster than it would have normally.
Mercyful Fate became self managed with the help of Ol Bang, a friend of the band who was involved with them since the very beginning, how did he end up becoming the manager?
It was natural as he was taking care of a lot of the things around the band to let us concentrate on playing.
In the following month of October, some American promotors were finally convinced to book the band for an American tour as you gained always more and more success over there, did you surprise about it? Did you have a big name in the U. S.? The initial plan was to do 15 shows in 3 weeks, but as the ticket sales far surpassed expectations, the tour was extended for 19 additional dates…Mercyful Fate headlined their own club tour, then opened for Motrhead on a trek through theatres, were these shows the preparations for the coming U. S. tour? Were they a kind of warm up gigs?
No the first tour in America in 1984 we arranged ourselves. Ole got ahold of different promoters and put a tour together, which a lot of people in the U.S. thought was a very risky thing to do, but it went well and at the end of this tour somebody must have seen our show, because we were signed to start all over on another tour with Motörhead and Canadian band Exciter. During these months we gained a big audience in the U.S. being the kind of band we were.
The band headed to the USA on October 18th, as their first show was scheduled two days later in Portland, Oregon, then on the October 26th, the band was performing in San Francisco, California, how did these shows go? How was playing in San Fransico, where the famous Bay Area scene was born and bands started popping up such as Exodus, Death Angel, Possessed etc. at this point?
The first show in Portland wasn’t great but ok. But the show in San Fransisco was great. We had Metallica on stage with us during the extra songs at the end of the show. That was a great feeling.
By the way, was it your first touring experience in the States?
Yes, we had never been to the States before.
The American Tour then ended on December 16th in Providence, Rhode Island, how about this show?
That was a small club and not many people showed up, but they still got the same show as had it been a full packed arena.
Further dates in Norfolk and Pittsburgh were canceled as local promoters were pressured by religious groups to ban the group from performing as Mercyful Fate’s reputation had actually preceded them, the band even landed on the front cover of the biggest news papers in America, USA Today and The Globe, stating in a headline Satanic rockers threaten our kids, what do you recall of it?
We all laughed about it. We couldn’t really take it seriously.
Do you agree with, that the American tour was completed with success? Did you feel good in the States? What kind of experiences did you gain during that U. S. tour?
I think we completed the U.S. tour with success. It was great to tour the States and it gave us a great experience, plus it matured the band regarding live performances.
Some frictions within the band began to arise regarding the musical direction the band had to take after that, what happened? Wouldn’t have been those problems unavoidable? Did the problems envenom the connection of the band members? Is it true, that a rift had sprouted between Hank and the other members, leading to the fabled reports of Hank wearing pink sweatsuits onstage while his bandmates still prowled the boards in black leather and spikes?
There were some differences in the opinion of what kind of music the band should do. Hank wanted to add a little funky stuff in songs for the next album, but both King, Denner and I said STRONGLY no way. And eventually it led to Hanks departure from the band. He did wear pink sweat pants on stage once or twice, but I think that was as much to provoke the rest of us, but we kept doing the same show.
Anyway, the band then came back home for a well-deserved Christmas break, but pretty short as you were booked to appear on the German Christmas Metal Meeting Tour, which lasted from December 26th through December 30th and the bill also comprised of Motörhead, Helix, Girlschool and Talon, was it a good gig by the way?
It was. We had gotten real close with Motörhead during the U.S. tour, so it was just like being with „ole friends” again. And it was a good oportunity to talk to Girlschool again.
In the beginning of 1985, the band was preparing material for their next album, did you have already some songs written or only rhythms, riffs, ideas?
At the time it was only ideas, though some riffs had been put together during our touring, but most of the material was written when we came home.
Do you something know about, that at the end of February, Hank stopped by King’s apartment to play him a tape of riffs and ideas he prepared for the upcoming album, King also had 5 tracks ready which were a direct continuation of the style displayed on the previous albums? Is the material Hank had was in a completely different direction as it was much softer and even funky in certain places?
Like i mentioned above Hank wanted to bring a funky touch to some of the songs, and King, Denner and I wouldn’t hear of it. Mercyful Fate was a heavy band, not a funky dance band.
Why did Hank want to change the band’s musical direction? Was he fed up of playing metal or…?
At the time being i think he was fed up and simply changed as a person.
How about you, Kim and Michael? What were your goals considering the band’s future career? Neither Hank and King wanted to compromise, and this situation left King with only one sensible choice; leaving Mercyful Fate and starting a band of his own, right? Is it true, that for the next month King kept his decision a secret from the rest of the band while laying out plans for a future on his own?
No. King, Denner and I had a good talk about it all and we decided to try and get an even better record deal than the one we already had, and the only way we could do that, was to close down the band Mercyful Fate. We agreed on that our fans would connect Kings name to Mercyful Fate, and that’s why we started King Diamond Band. That was King, Denner and I.
Would you say, that from this point did start forming the King Diamond Band, along with you, Michael Denner and drummer Mikkey Dee? How did he get in the picture exactly? Were you a four piece at this point?
You’ve got it all wrong. Let me tell you in a few words how it all happened. We knew Mikkey from a Danish band called Geisha, so we asked him if he would like to join our new line up. Fortunately he joined us immediately. We also got a hold of a friend of Mikkey's from Gothenburg (Floyd Konstantine) who came over and played with us for a while as we were waiting for a new contract to be drawn. By the time we were about ready to go into the studio to record the new material we agreed that Floyd wasn’t the right guitarist for our band. So Mikkey got hold of yet another friend from Gothenburg (Andy LaRoque), and he came down to Copenhagen, and we all clicked at once. So the new King Diamond band was born.
Even after its demise, Mercyful Fate was still causing controversy as in the summer of 1985, an organization, formed by American senator’s wives, called the P.M.R.C. (The Parents Music Resource Center) published the infamous Filthy Fifteen List, that was a list of the fifteen songs that the P.M.R.C. considered the most harmful for young people; among others, such as Black Sabbath, Judas Priest and W.A.S.P., but there was also Mercyful Fate on this list, regarding the song Into The Coven, were you aware of it?
Yes we heard about it, but again we could only laugh about it.
Now that the band was no more existing, Hank went on his side forming his new band called Fate, King, on his side, started on a new band simply called King Diamond, while drummer Kim Ruzz, decided to call it quits for the musical scene as he was not asked to follow King because Michael did not get along with him at all and they even had a fist fight on tour, right?
Yes Hank formed his own band and King, Denner and I continued as King Diamond Band with Mikkey Dee and Andy LaRoque. It was actually me that had not a fist fight with Kim Ruzz, but he wasn’t my favorite person. Let’s just leave it with that.
You recorded several singles and two records with the King Diamond Band, what were the differences and similarities between Mercyful Fate and KDB? Could you tell us more about both about Fatal Portrait and about Abigail?
Well the music was still heavy but with a little twist of classical music in some riffs. And as a band we developed a more theater like performance with different costumes that we thought fitted with our stage show.
Two compilations (The Beginning – 1987 and Return Of The Vampie – 1992) were released under the moniker of Mercyful Fate, did these releases keep the band’s name alive? Did the band leave its mark on the scene?
People still remembered Mercyful Fate as we toured around the States and Europe.
Would you say, that Mercyful Fate has (or would have) a place in the Hall Of Fame of Metal?
It would surely be a great honour, but I’m not sure we were big enough to have a place in Hall of Fame of Metal.
Once again you returned, as you played on Mercyful Fate’s comeback album In The Shadows, how did this reunion (comeback) come into being? How long did it take ’til King and Hank buried the hatchet?
It was Brian Slagel from the record label who wanted to reunite Mercyful Fate. So we just met and agreed that we would do this album. There weren’t really anything between King and Hank other than musical differences. We have all kept contact ever since the early days.
Why wasn’t Kim Ruzz interested in playing Mercyful Fate again?
Nobody had really talked to Kim at the time, so we found another drummer – Morten – who went into the studio with us.
Do you agree with, that everything from the early ’Fate days are here considering the In the Shadows album, such as excellent dual lead work, powerful bass, and King’s unique vocals? Is the main element that makes this album so great is the atmosphere?
I think we actually got the sound very a like a the early Fate stuff. I was quite satisfied with the album, and it was great to be together again.
How did the old, classic Return Of The Vampire make up on the record? Did you something change on the tune? Why wasn’t the song on the early Mercyful Fate classics released?
Return of the Vampire sounded just like I remembered us playing it live in the old days. As far as I remember we didn’t change anything on the song. The reason why it never made on the early albums were that we saved it for later. It didn’t really fit in the album material we wrote back then.
How did Lars Ulrich end up drumming on this tune?
Lars and the rest of Metallica have always loved the old heavy tunes from Mercyful Fate, and we knew they were on tour an had a week off in Mexico at the same time as we were in the studio in Dallas. So we called up Lars and asked him if he would like to make a guest appearence on the album and he had a quick word with Metallicas manager and called us back and confirmed. So we flew him in from Mexico together with his drum tech (my old brother in law). I had my son with me from Denmark to Dallas when we recorded, so he was very excited that he was gonna meet his uncle Flemming in America. And we had great fun while he was with us in the studio, and he actually loved playing the old Mercyful Fate classic Return of the Vampire.
Two years ago you released a two song single including Evil (2009 Version) and Curse of the Pharaohs (2009 Version) and these two songs were also be available as a limited edition 12-inch vinyl picture disk from both Metal Blade and Massacre Records, what can you tell us about this release?
Nothing really. I haven’t heard about this. I haven’t really been in contact with others than Denner and Hank for the last 5-6 years.
How about you these days? Are you still a metal fan?
I still love heavy/metal music, but these days I spend most of my spare time in the local football club FB, where I take care of our 1st teams kit and have everything ready for each training and match. We play in the 4th best league in Denmark.
What kind of stuffs do you listen to? Do you still follow what’s going on in the metal scene?
I listen to many different styles of music these days, but I still prefer heavy metal. This music can still make me drift away in my old memories og those great days. I don’t know a lot of the new young bands turning up. When I listen to metal it’s mostly the old stuff.
How would you sum up your career in Mercyful Fate? What were the greatest and the worst moments with the band? So the highlights and lowpoints?
I had some very good years with Mercyful Fate and the rest of the guys in the band. We got quite close from being so much together as we were. I think one of the greatest moments was being discovered more or less in the Dynamo Club in Eindhoven and coming back there again. One of the worst moments was the supposed tour with Manowar, who turned out to be the worst kind of fellow musicians. There was no need for them to be such big assholes to us as they were.
A Mercyful question: what your favourite Mercyful Fate songs and records? Are you proud of being the bassplayer of this legendary, influential band?
My favorite song must be A dangerous Meeting. I loved to play that song. And my favorite album is Don’t break the Oath.
Would you have ever thought that Mercyful Fate will be a great influence for a lot of metalheads and musicians?
No not really, as we were just a bunch of music loving guys who thought it was fun playing together. I’ve heard things from a lot of people after I quit the band(s) about how big influences we have been to other young musicians. I never really looked at us as being big influences, but since I’ve heard so many times from people all over the world I have started to believe that it is actually so, and that makes me VERY proud. To hear from so many people that you’ve actually meant something for them is the biggest achievement you can get in life.
Is the band’s name still big an it is in people’s minds?
Obviously. Whenever the name is mentioned when I’m with some people who doesn’t know I’ve been a part of that, they always go: what? Have you been in one of the greatese heavy bands ever?. That sometimes makes me think that Mercyful Fate has meant a lot and still does. Again that makes me VERY proud.
Timi, thanks a lot for the interview, share us your final thoughts…
Well it’s been a pleasure to share some of my thoughts about the whole world around Mercyful Fate. And it’s always great to be able to share some of my very best memories of my life. I think I had my best years with both Mercyful Fate and King Diamond band. I never regret having been a part of that and I never will. And to all the young promising musicians around: Keep up the good work, work hard and always believe that you could be tomorrows new stars. Stay heavy and all my best wishes for you all.
Timi

Mercyful Fate - third part

2011-04-30T04:49:00.000-07:00

Is it true, that there was a priest in Denmark who really tried to finish Mercyful Fate’s career, before the first EP came out, and you had the chance of appearing on national TV in Denmark? Did it do/mean some extra promotion for the band?
No not before the first EP. But there was a priest at a time who went on to national TV in Denmark to confront King. He was left blank, because King had some really good answers to all his accusations.And yes I think it gave people the impression that we weren’t just a stupid rock band, but young guys with brains, and if that was the case it couldn’t be all that bad.
The band had the opportunity to perform their first shows outside their native Denmark under the name Mercyful Fate, the first one took place at the famous Dynamo Club in Eindhoven, Holland, on September 23rd, as the club was packed with 300 people, can you tell us more about this gig, since it was your very first touring/live experience abroad?
Dynamo Club in Eindhoven still stands as one of my favorite venues all over the world. As I told you earlier, Eindhoven became our 2nd hometown. We were blown away by the reaction from the crowd in Dynamo Club. They really took us to their hearts and we have visited friends in Eindhoven after and one summer about 6 people from Eindhoven came and visited us in Copenhagen. So we have always had a special feeling about Dynamo Club.
How did the second show, that was at Ulicoten, still in Holland, two days later go?
Again a great reception from the audience. But then again a lot of people from Dynamo Club came and saw us at Ulicoten too, so we had a great gig there too.
The next day, the band returned to Copenhagen, where they were booked to support the English all-female band Girlschool, were all of you aware of that NWOBHM movement? Which NWOBHM bands were you into?
Yes we all knew NWOBHM and have known it all the time we were playing as a band. Bands like Judas Priest, Iron Maiden, Motorhead, Girlschool, Saxon, Riot, Tygers of Pan Tang and others. They were/are all great bands.
During this show, Girlschool singer Kim McAuliffe suffered an injury, right?
Yes unfortunately she was electrocuted when holding her guitar and the mike stand. She touched both at the same time and some bad electricity went through the whole PA and that’s when it happened. It was an unfortunate accident, but luckily she wasn’t really hurt by it. Only a little shocked.
How and when did then an invitation from Tommy Vance, who asked the band to record a live session for the Friday Rock Show on BBC Radio 1, in England come? What about the travel to England?
I can’t really recall how we came about the invitation, but I guess he heard about this new band from little Denmark and got interested. That's where we played Satan’s Fall live and he was very impressed.
In London on March 18th you performed your first show in England at The Moonlight Club in front of a small but very enthusiastic audience, how did the people welcome Mercyful Fate? Would you say, that you were heavier, than the NWOBHM bands altogether?
I remember this little club The Moonlight Club. There was only about 25-30 people there, but we agreed that if they had paid to see us they deserved a full show, and we went on stage and had a great time. After the show we just went down and talked to all the people there. It was like performing for a group of friends and the people there really liked out attitude and I think this helped us further on, as we were known as a bunch of really nice guys who really gave us time to talk to everyone. I think we were heavier than NWOBHM bands altogether as NWOBHM bands were more metal than heavy. Not that I see this as bad, cause I have always loved the above mentioned bands.
The band recorded the 3 songs for the BBC session: Curse Of The Pharaohs, Evil and Satan's Fall, that were recorded in only 8 hours in The Maida Vale Studios, were later mixed and produced by BBC engineer Tony Wilson, what was the goal of this recording sessions? How did these songs sound like?
What can I say. As I explained about Satan’s Fall we took it in one take. So it sounded fantastic ! ! !
You managed then to perform at The Clarendon Ballroom, also located in London…
Ah yes the Clarendon. I don’t really remember much from that gig. Sorry.
In April, after you returned home you decided to leave Rave On Records, what kind of reasons did lead to the department with the label? How much support, help did you get from them?
We were offered a better contract with Roadrunner Records and King and Ole Bang took care of all negotiations with them. Rave on Records helped us as much as they could, but the offer from Roadrunner was just too good to pass.
Having returned to Denmark, the BBC broadcast of The Friday Rock Show was aired on April 22nd and after the broadcast, BBC had so many requests for a re-broadcast that you did it, and it really helped the band a lot, it seems, Mercyful Fate conquered England and draw more fans attention to the band, right? Did you reckon to such a success by the way?
No we didn’t really expect that kind of response, but after Tony Wilson praised us for our performance in the studio, we all had a feeling that something great could happen.
Among the listeners, there was also some people of Roadrunner Records of Amsterdam, Holland, they were then interested in signing the band for a long term contract and so, they contacted Mercyful Fate in May 1983, were you the first (or one of the first) signing of the label?
I don’t think we were their first signing, but I really don’t know.
Did you think, that Roadrunner will be a better chance for the band in terms of promotion, support, distribution etc.?
It seemed like it according to the contract we signed with them.
On June 1st, the band then played a show in Copenhagen, and on June 25th, you were performing at the annually held Aardshock Festival in Holland, which bands did you share the stage with? Did you do a really triumphant performance?
I’m sorry I can’t recall which other bands played the Aaardshock Festival, but as I recall we had a great gig at the festival. I remember stumbling around on stage after having stepping on a big nail which went through my foot. But I still had a great show.
The next day you played in Bochum, in Germany, before returning home to start preparing the material for the upcoming recording sessions of their first full-leghth album, correct?
As far as I remember we played with Accept in Bochum and I lost my Flying V when our roadies forgot it at the venue in Bochum. You’re right. We started working on our new material for the first full length album as soon as we came home from Bochum.
So, on July 18th 1983, Mercyful Fate started recording at Easy Sounds Studios in Copenhagen for the 13 next days with producer Henrik Lund, which was the co-owner of the studio along with his brother, how were those songs born? I mean, how were they written? How about the songcomposing as a whole?
Normally the person who wrote the song, presented it in our rehearsal studio and we all put our own way of playing to it. The composing was done by the songwriters alone at home.
Did you have more time working on Melissa and recording the material, as you did the first EP?
Yeah the first EP was recorded in a couple of days and Melissa we had 2 weeks in the studio.
Is it correct, that the band knew the songs very well before entering the studio and made it very quickly?
Yes, as I described earlier in the interview, we rehearsed 7 days a week and could play the songs even if we were woken up at 4AM and asked to play. All the songs were in our backbones.
What abnut the recording sessions?
We always recorded the ground track first, them the drummer put in his drumming with guitar and bass playing along. Then I went in and did my bass tracks. Then the rhythm guitars, then the guitar solos and finally Kings singing.
As for the title of the record, it was the name of a skull the band was using at the time in their shows, and that we can see on the cover of the album, wasn’t it? Does Melissa have a story by the way?
I’m not really sure. I think i remember it all was in Kings fantasy and he just called the skull Melissa for fun and the name followed the skull and also we thought it would be at great name for our 1st album.
Do you agree with, that this record is not only influential to countless bands, but also landmark of the genre?
I have heard from several musicians, that they took big influence from Melissa and Don’t break the Oath. At the same time I would agree with you that it was kind of a landmark of the genre. We were actually the first band (as far as I know) who wrote a full compilation album – meaning that all the songs were connected as one whole story.
Everything was said and written about Melissa, so I would ask you describing the album with your own words! What kind of memories do come in mind considering this period?
Oh, I have some great memories concerning Melissa. Not as much the recording as the people around the band at the time of the recording. We had 6-8 people from Eindhoven to visit us while we were recording and we had a great time with these people in Copenhagen.
Some of the material on the album had their roots in even earlier demo recordings done during the Brats days, such as Curse Of The Pharaohs, which was originally titled Night Riders on some old Brats demo, but retitled after King changed the lyrics to it as the original lyrics were written by the Brats bassist, there was also Love Criminals, which is actually the first song Mercyful Fate ever written, that have been finally available for the first time on this album, but under the title Into The Coven, which was originally meant to be the title of the album too, how much did these songs alter compared to their early versions? Did the sound lot heavier and brutal?
I have only heard these songs from earlier recordings once or twice, so I can’t really remember them other than they sounded slightly different in the earlier days. I think they came out a lot heavier played by Mercyful Fate.
Was Satan’s Fall unaccustomed those days in terms of lyrics, structure, music etc.? Would you name it an epic tune?
Satan’s Fall is one of the most complicated songs I ever had to rehearse and learn by ear. There was so many changes in the song (32-34 I believe in 12 minutes) going from light and fast to very heavy. And fast and half beats. In my opinion it is surely an epic in heavy music.
At that time, the label asked the band to do a cover song, so the band tried Led Zeppelin’s Immigrant Song, why did ask you Roadrunner doing a cover at all? How did your choice fall on this song?
He wanted us to record a song people already knew to make more people than „just” underground listeners open their ears to Mercyful Fate. We actually agreed on Immigrant Song pretty fast. We all loved the song and we had jammed the song at several rehearsals just to warm up.
The band skipped it because you didn’t felt it was working very well, so it seems, it wasn’t recorded, but was it planned to be featured on Melissa or…? Did this song fit to the band’s musical world?
We agreed that we didn’t want to do a cover song on our album. Melissa should only contain our own material. As far as our musical world I think the song would fit in very well.
November 26th 1983 Melissa, the first full-length album was released and this was also the first Mercyful Fate effort to get an official release in the United States, as the self-titled EP was a highly sought after import, and the BBC sessions were only availlable on bootleg tapes, do you think, that this album opened the doors for the band both in Europe and Overseas?
I’m pretty sure Melissa opened the doors for Mercyful Fate overseas. A lot of people had heard our demo tapes as they floated around the underground heavy metal world in the US, so when Melissa was released a lot of people wanted to hear more of this „Satanic” band from Denmark.
In December 1983, the Black Funeral single was released, it contained a B-Side called Black Masses, which was recorded during the Melissa session, but has been deleted from the album, why? Did you have other songs written, that didn’t make up on the record?
Black Masses was saved from the album exactly to be released as the B-side of a single. It was already agreed before recording Melissa. We didn’t really write any songs that didn’t go on an album. But as we had so many songs when we were about to record Melissa we decided to save Black Masses.
What kind of goals did the Ep serve at all? Was it a limited release by the way?
It was meant to open doors for us. Yes, I think it was only released in about 1000 copies. (As far as I know).
During the same month, Mercyful Fate was booked to support Ozzy Osbourne in Copenhagen, but due to an illness on Ozzy’s part, the show was cancelled, right? Were you disappointed about it?
I have no recollection of us supposed to support Ozzy in Copenhagen. Sorry.
Later that same month, the band performed a headline show in Copenhagen as preparation for your upcoming European tour….
We played the „Salt Storage” in Copenhagen.
It was also in 1983 that Mercyful Fate first met the guys of Metallica, with whom you stayed very good friends since then and it all began when Metallica, while recording some of its albums (Ride The Lightning – 1984 and Master Of Puppets – 1986) in Copenhagen, asked Mercyful Fate amplifiers and other borrowed equipments from them, can you tell us about it?
Michael Denner and Lars Ulrich knew each other from their school days and had stayed in touch. Then when Metallica came to Copenhagen to record Ride the Lightning, they used our rehearsal room to get ready to go into the studio (which by the way was right next door to our rehearsal room). During their recording we took the guys out in Copenhagen and we had some great times going out together. We introduced them to almost everyone in the heavy/metal scene in Denmark and we spend a lot of time together. It was also then Lars found his drum tech Flemming. Flemming was my brother in law and a drummer in a local band. Lars asked me if I knew a good drum tech who could prepare his drum kit every day in the studio and get paid for it. So I asked Flemming and he was happy to get the job. Now he has worked with Lars as his drum tech for 27 years.
The European tour started in Holland on January 19th 1984 at The Dynamo, in Eindhoven, do you recall how much gigs did you perform altogether? Can you tell us more about this tour?
Again I’m sorry I don’t recall how many shows we did and where. I think Ole Bang is the right person to ask this. He might still have itenerarys from back then.
What were the highlights and the lowpoints of the tour? What kind of experiences did you gain during the tour?
Dynamo Club in Eindhoven was ALWAYS a highlight on ANY european tour. We got familiar with performing live on these early tours to get ready for our first US tour.
March 3rd, you started your UK tour supporting Manowar and originally, 11 shows were booked, but it turned out that Mercyful Fate would only play one, what happened?
Manowar f..... us up real good at the first show, so we agreed that they could tour the UK without us and went back home to Copenhagen.
On April 5th, the band played a sold out headline show at Saltlageret, in Copenhagen, was it the last station of the Melissa tour?
As mentioned above there was never a Melissa tour due to „Women of war” as we called then after they treated us real bad in the UK. But the show in Saltlageret was great.
There, for the first time, you were able to present you new chapel; a fantastic stage set in which the band had invested a lot of their earnings in their never ending quest to deliver the ultimate show for the fans, weren’t you?
Yes that was the first time we had the „Chapel” with us on stage, and what a great prop that turned out to be. It gave our live show so much more atmosphere. Everybody thought it was a great show. We were always trying to give our fans a better show every time. And it was getting better and better from gig to gig, as we ourselves got more self confident on stage and developed our stage show. At the time of the King Diamond days the show was at the best I have experienced in my musical days.

Mercyful Fate - second part

2011-04-30T04:20:00.000-07:00

In early 1982, Mercyful Fate had recorded two 4-track demos; the first one contained Walking Back To Hell, Running Free, Black Masses and Hard Rocker, as the second one contained Curse Of The Pharaohs, Return Of The Vampire, A Corpse Without Soul and Burning The Cross, how were these demos recorded and how did they sound like?
They were both recorded in a small studio in Copenhagen as far as I remember. It’s a little blimp for me. I wasn’t really involved in the sound, but I think it sounded pretty heavy for the time, when metal was the preferred rock music, but we wanted to create a more heavy sound and I think we succeeded in this.
Is it true, that then co-manager John Kibble had been knocking on all the major label doors, but even though these demos received some attention from the underground tape-trading circuit, nobody was willing to take that big chance, although a lot of the A&R people liked what the band was doing? Would you say, that the demos helped a lot to expand the band’s popularity in the underground?
Yes, John Kibble tried all he could to get the bigger labels interested, but most of them pulled back because of our lyrics. It was too strong for them and they thought that they couldn’t release an album on their label with this kind of lyrics.
Prior to that, the band had already performed a few more headline shows and had also opened for a show of The Gillan Band in Copenhagen, on March 26th 1982, right? How was this show?
It was a lot of fun. Alone to meet Ian Gillan (one of our boyhood heroes). He was a nice guy and we had some fun together. The gig itself went very well and Gillan and his band praised us for our performance. They thought we were a really good live band and that gave us a lot of confidence to hear that from well experiences musicians.
Later on the band flew to Hull, England, to record a session for a newly established label Ebony Records, their A&R man, Daryl Johnston, liked a lot the material he heard from the band, were only Ebony Records that started showing interest in the band or…?
At the time Ebony Records were – as far as I remember – the only label interested at the time being. But other labels were beginning to show some interest.
He offered them the opportunity to do a session for 2 upcoming compilation albums on his label, right so the band then recorded Black Funeral and Walking Back To Hell and Black Funeral was included on the Metallic Storm compilation album, do you still remember about this album? Was this song your decision to be featured on the compilation or…?
I have to be quite honest. I can’t remember if the label decided or if we had any inputs to that.
It came out during the following summer, which was the first album on which the band appeared, wasn’t it?
My God I’m getting old. My memory is not what it used to be. I think we released the mini album before this – or am I wrong ? It’s embarassing not to remember – sorry ! ! !
Why Walking Back To Hell have not been used at this time for a release?
We didn’t think the song at the time was strong enough for a release.
Can you tell us more about your experiences in London?
We went into BBC radio studio to record one song live on the radio. And we went in and played Satan’s Fall direct and the studio reporter was very impressed that we could go straight into the studio and just go through a song at 12 minutes with 30 – 35 different changes and beats and do it perfect. He was very amazed. That is the thing I remember the best from our trip to London.
During the summer that followed, Benny left because of his girlfriend, and Michael Denner went back in the band, so from this point, this line-up had to remain the same until the demise of the band, correct?
Yes we stayed together until we split and called the band King Diamond band, and that was really only to get a better record deal from Rave-On Records.
Then came the Dutch label Rave-On Records, offering the band their first record deal, Rave-On Records was based in the same city as Holland’s leading heavy metal magazine Aardshock, which was a very supportive magazine of the band since hearing the demo recordings; that’s what introduced the band to the label, how did that happen?
If you want details about how the contract was landed, I’m not the right person to ask. King and Ole Bang will know this a lot better. I wasn’t involved in the meetings about the contract. I was actually only a musician in the band.
So, in the following September, in Stone Sound Studios, Holland, the band recorded and mixed, in two or three days only, the 4 songs that had to become your classic eponymous EP, also known as Nuns Have No Fun, what do you recall of the recording sessions?
I remember recording in the Eindhoven surrounds and Eindhoven became our second „hometown”. We had a lot of fun and made a lot of fans and friends in Eindhoven. We always loved to come back to perform in Eindhoven.
Do you think, that you surprise the scene with this stuff? Do you agree with, that the music was complex and unique those times? Did the EP take the underground by storm the year before, bowling people over with a mixture of elements that nobody before or since has ever matched?
I think we did surprise the whole scene a bit, because as I mentioned before the music that was very popular at that time was metal and we played more heavy stuff and at the same time we played some very complex music that most people had never really heard before in that kind of music. And that is in my opinion why we took the underground by storm.
How much did your music change compared to your early days, such as The Brats or Danger Zone? Was it a logical step becoming more complex and heavier?
Yes it came quite natural. We all wanted to get our music more complex and heavier than the other bands we played in before. We wanted to create something new and not just become another metal band.
It’s well known thing, that your lyrics are/were about occultism, satanism etc. at which point did King dig himself in these topics? Did all of you agree with King’s lyrical direction?
King always stood by his believes in satanism, but the rest of us just thought it was interesting, but we didn’t have quite the same believes as King. But when it comes to the lyrics we all agreed that the lyrics were great to create a good live show from. It was perfect to present our music with at live show that represented Kings lyrics.

Mercyful Fate interview with bassist Timi Hansen - first part

2011-04-30T04:04:00.000-07:00

So Timi, how and when did you discover music and when did you turn into hard rock/heavy metal? What were your first experiences considering the hard/heavy rock scene?
I've always wanted to play music, but I first started out in Heavy Metal in the late 70s. My first experiences were Status Quo, Uriah Heep, Black Sabbath, Led Zeppelin and Deep Purple.
When did you decide becoming a musician and how did you pick up the bass? Was it the first instrument you chose or…?
I had a bunch of friends (Michael Denner) being one of them who had a band. Their bassplayer was German and wanted to go back home to Germany, so they asked me if I could play bass. I never tried before, but thought to myself: "If I can play guitar, I can also play bass". So my first instrument was acoustic guitar.
What were your influences becoming a musician? Were you self taught or did you take regularly lessons?
Regarding influences it's the bands mentioned above. I’m self taught as a bass player.
Before being involved in Mercyful Fate, you played in Danger Zone, that was Michael Denner’s band/project after he left Brats in 1980, do you still remember, how did you get in the band? Was Danger Zone your very first act by the way?
I was in Danger Zone with Denner and a drummer and another guitarist. Danger Zone was my first heavy/metal act.
Were you familiar with Brats at all too?
I'm familiar with Brats, Hank Shermann was in Brats with Denner.
In April 1981 a demo was recorded at The Rocktape Studios, contained songs such as „M.D.A.” (Mission: Destroy Aliens), „Killed For Love” and „Not Amusing”, how was it recorded at all? How would describe the demo musically?
The demo we recorded in 1981 was songs Denner and I played in Danger Zone. The studio was a very small studio in Copenhagen and we asked King and Hank to give us a helping hand in the studio.
Is it correct, that the demo tape features King Diamond and Hank Shermann, who were asked to help out Michael? How did they get in the picture exactly? Did you try out other musicians too?
At that time they had Mercyful Fate already, but they had no guitarist and no drummer and no bassist, so they agreed to help us out, and that was the start of Mercyful Fate.
King didn’t seemed to really enjoy Michael’s songs, right? What were his problems with the tunes?
The tunes were not heavy enough in King’s eyes. And we all agreed.
A second demo was released in 1982 featuring „Persecution”, „I’m Alright” and „Death Kiss”, what can you tell us about this tape? Is it correct, that the new demo turned out so well that it became obvious that the two bands should become one, that became Mercyful Fate later on?
The second demo I can't really remember, and we were already together as Mercyful Fate after the first demo in 1981
Mercyful Fate was formed the in 1981, the very first incarnation of the band consisted of King Diamond, Michael Denner, Hank Shermann, you and „Old” Nick Smith, but the chemistry wasn’t quite right and soon, so Ole Frausing replaced Nick on drums, what happened?
Nick wasn't good enough on the drums. So we tried out a couple of different drummers and found Ole as the best of them.
Was this the only one line up change at this point? I ask it, because I read, that the very first Mercyful Fate demo was recorded at The Rocktape Studios in March 1981, featuring „Death Kiss”, „You Asked For It” and „Running Away” the line up was King Diamond on vocals, Hank Shermann on guitar, Carsten Van Der Volsing on guitar/bass and Jan Musen on drums. Would you clear the things?
I can't really answer that question. That recording they made before I came in the picture.
This new version of Mercyful Fate played their first live gig in the following summer in Taastrup, a small suburb of Copenhagen, then during the next autumn, in Herlev, another suburb of Copenhagen, the band rehearsed and played one more gig, what do you recall of these gigs? What about the setlist?
I remember the gigs, but not the setlists.
How many songs did you have written at this point? Did you constantly write new material?
I can’t really remember how many songs we had at the time, but we had enough for a couple of albums. We spitted out new material all the time. Some was put aside and some was worked on.
Did you often rehearse?
We rehearsed 7 days a week and constantly wrote new material. We were at a point where you could have woken me in the middle of the night at asked me to play Satan's Fall and I could have done this in my sleep.
Once again, another lineup change took place; Michael had some problems finding the time to play with the band because he had a day job and a frustrated girlfriend so he left the band and was replaced by Benny Petersen, better known as Bennett…Around the same time, Ole Frausing was asked to leave the band, and his replacement was Kim Ruzz, who have previously played with Benny, what did go wrong Ole with? How did you find Kim?
Yeah Michael had some problems and we found Benny who had been hanging around the band for a while. At the same time Ole was very often sick with asthma and had some problems breathing when we played, so we agreed together with Ole that it would be best for all parts if he called it quits. So we took in Kim Ruzz.
What was the band, that he played Benny with? From what kind of musical background did Kim Ruzz arrive?
Kim and Benny played in a small Copenhagen suburb band. I can't even remember the name.
Would you say, that he was the missing link, considering the line up of the band?
Is it true, that Kim Ruzz was flashy with a cool drumming style and hard-hitting playing, but was very different as a person compared to the rest of the other members and he was younger and immature but was working very hard in the beginning, always six days a week?
Kim came in and was clearly the best drummer so far in the band. He was a good drummer but as you mention he had some personality problems which interfered with our playing, and that's the main reason we didn't ask him to join us when we reformed the band as King Diamond band. But of course we got Mikkey Dee, who I still consider as one of the best drummers EVER.
How about the Danish metal scene at this point as a whole? What were the bands that started at the same time as you?
The Danish metal scene now is a bit week, there aren't that many known bands around. There are plenty of small bands but I guess only Pretty Maids are still going strong.

Actual Playlist

2011-04-03T03:00:00.000-07:00

1. DESTRUCTION: Mad Butcher Ep
2. MERCYFUL FATE: Melissa/Don't Break The Oath
3. SLAYER: Show No Mercy/Haunting The Chapel Ep
4. ARTILLERY: My Blood
5. INCUBUS: Serpent Temptation/Beyond The Unknown
6. SEPULTURA: Beneath The Remains
7. DARK ANGEL: Darkness Descends
8. WITCHUNTER: Crystal Demons
9. SACRED REICH: Ignorance
10. MEGADETH: Peace Sells...But Who's Buying

2011-04-01T06:07:00.000-07:00

DESTRUCTION
Mad Butcher Ep
(Steamhammer 1987)

Noha (annak ellenére, hogy) egy Ep a rajta szereplő dalok és időtartama folytán nem egyenértékű, nem egyenrangú egy koronggal, az adott zenekar életében meghatározó jelentőséggel bír(hat). A teljesség igénye nélkül pl. a Slayertől a Haunting The Chapel, a Sacred Reichtől a Surf Nicaragua, a Nasty Savage-től az Abstract Reality, az Agent Steeltől a Mad Locust Rising, a Kreatortől a Flag Of Hate illetve az Out Of The Dark…Into The Light, a Sodomtól az Expurse Of Sodomy vagy a Destructiontől a Mad Butcher. Klasszikusok.
Egy-egy Ep több funkciót is betölthet. Ha kezdő, tapasztalatlan csapatról beszélünk, akkor jelzi, jelezheti, hogy milyen zenei világban próbál majd érvényesülni a szóban forgó banda, mit várhatunk el tőlük a jövőben. Ha már egy több kiadvánnyal rendelkező (esetünkben egy demo, egy Ep, két lemez), tapasztalt, műfajában, a színtéren klasszikussá avanzsálódott együttesről van szó, akkor egy Ep amolyan időhúzó, űrkitöltő, a rajongók étvágyát csillapítandó mű lehet, ugyanakkor jelentheti azt is, hogy a csapat elért egy bizonyos pontig, amikor azon kezd el filózni, hogy most merre tovább, tehát útmutató, a jövőt meghatározó funkciót lát el a kiadvány. A Mad Butcher esetében ez utóbbiról beszélünk. Köztudott, hogy az Eternal Devastation után Tommy Sandmann dobos kilépett a csapatból, helyére pedig a jazz vonalról érkezett Oliver „Olly” Kaiser érkezett illetve egy másik gitáros, Harald „Harry” Wilkens, tehát az addig trióként funkcionáló Destruction kvartett lett. Ez a lépés azt vonta maga után, hogy zeneileg egy, az előző anyagokhoz képest, még technikásabb, fifikásabb irányba lépett a Rombolás. Nemcsak zeneileg, hanem image-beli változás is bekövetkezett, az addig bőrbe, töltényhevederekbe, szegecsekbe öltözött társaság, „mezei”, hétköznapi ruhákat kezdett el viselni. Fazonilag, tehát küllemileg, abszolút illet a képbe a két új arc, sokat nyert velük a zenekar. Egyfelől a két gitár alkalmazásából kifolyólag vastagabb, keményebb lett a zenekar hangzása, másfelől bizonyítást nyert, hogy nem tehetségtelen, ügyetlen, kezdő muzsikusok léptek a banda soraiba. Egy klasszikus nóta újra felvett változatát, egy feldolgozást és két új tételt tartalmaz az Ep. A címadó dal – amely szerepelt a Bestial Invasion Of Hell demón illetve a Sentence Of Death Ep-n – egy gyorsabb, komplexebb – ha úgy tetszik átdolgozott – változatával nyit a korong. Maga a nóta a Destruction (és az egyetemes thrash történet) legklasszikusabb szerzeménye; ha csak a zenekar saját repertoárjára fókuszálunk, akkor a Curse The Gods-zal, a Bestial Invasionnel vagy az Invincible Force-szal egyenértékű darab. Alapos vérfrissítésen esett át, Harry új dimenziókat nyitott, új értelmet adott a dalnak, a két gitáros óriásit riffel és szólózik a szerzeményben, főleg a váltott szólómunka zseniális. Bizony köröket ver az eredeti változatra. Ezt követően a Plasmatics Coup d’Etat lemezén szereplő The Damned hangzik el, mely alapvetően egy dallamos tétel és amely beleillik a Destruction világába, lévén sosem mondtak nemet a melódiáknak. Schmierék remekül formálták képükre a dalt, szinte alig vettek el belőle valamit. Azt sem tartom kizártnak, hogy ezáltal fedezték fel sokan maguknak a Wendy O’ Williams (R.I.P.) vezette bandát. A megújult felállású tagság első közös szerzeménye a Reject Emotions, egy akusztikus gitárral és Schmier énekével kezdődő, majd középtempósig fejlődő szerzemény, a maga majdnem hét percével a klasszikus Destruction egyik leghosszabb tétele a Black Death-tel és a Sign Of Fearrel egyetemben, de hogy a legkomplexebb az biztos. A turnézás hátrányait (visszautasított érzelmek – ez a cím) taglaló számról azt olvastam, hogy egy thrash ballada, ami jó nagy hülyeség, mert ez egy összetett, középtempós dal, mely a Destruction koncertjein előszeretettel bukkant fel azokban az időkben. Mindkét új muzsikus parádézik benne, csakúgy, mint a többi tételben. A mai napig úgy vélem, hogy a Sentence Of Death Ep és az első kettő lemez klasszikussá nemesedésében elévülhetetlen érdemeket szerzett Tommy Sandmann, a süket is hallja a Mad Butcheren, hogy Olly mennyivel dinamikusabb, professzionálisabb és képzettebb dobos, mint ő. Tetszik, nem tetszik, ez az igazság. Végül a hangulatos, instrumentális The Last Judgement zárja az Ep-t, ez egy az egyben Harry nótája, ő játszotta fel a dalt. Nem volt meglepő a felvétel, hiszen ezt megelőzően is tett fel instrumentális nótákat lemezeire az együttes, gondoljunk a Thrash Attackra vagy az Upcoming Devastationra.
Úgy gondolom, ezzel a kiadvánnyal nem tévedett a csapat és jelezte, hogy mi várható majd a Release From Agony-tól (1988). Tehetségük, zsenialitásuk elismeréseként felléphettek a ’87-es Dynamo illetve a ’88-as Heavy Sound fesztiválon, tehát a Destruction egyértelműen a legjobb thrash csapatnak számított akkoriban. Jelen aktivitásuknak, létezésüknek is van létjogosultsága, de abban talán mindannyian egyetértünk, hogy a legnagyobb dolgokat a ’80-as években vitték véghez. Az én véleményem alapján mindenképpen.