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Heaven And Hell | Motorhead | Manowar
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www.myspace.com/heavenandhelllive HEAVEN AND HELL is the name given to an illustrious cast of BLACK SABBATH associated musicians who announced their intentions during mid 2006. The previous year singer Ronnie James Dio stunned BLACK SABBATH fans in mid October with a casual remark during a BBC Radio 2 "Masters of Rock" radio interview by stating "Tony Iommi and I are going to write a couple of tracks together for a project that I think is called 'Black Sabbath – The Dio Years'." In April 2006 Ronnie James Dio travelled to the UK to engage in songwriting sessions with TONY IOMMI. This union would rapidly evolve and reports in the summer suggested a Dio / Iommi / Geezer Butler / BILL WARD reunion billed as HEAVEN AND HELL. This would be substantiated with a management statement issued on October 24th. However, the very next day BLACK SABBATH's pre-Dio frontman OZZY OSBOURNE put out his reaction to the public by way of a press release stating "Tony Iommi and Ronnie Dio are working on a project together which has nothing to do with BLACK SABBATH. There is only one BLACK SABBATH. Ozzy, Tony, Geezer and Bill will be touring late next year along with a new BLACK SABBATH album. However, Ozzy wishes Tony and Ronnie much success in their project together." In November it was revealed that Bill Ward was not to participate and in his stead came Vinny Appice, another well known BLACK SABBATH drummer. Shortly afterwards the first confirmed live date for HEAVEN AND HELL was announced, as headliners of the Sweden Rock festival. December 2006 had Tony Iommi revealing titles for three new tracks, 'Shadow Of The Wind', 'The Devil Cries' and '‘Ear In The Wall'. For live work the band employed Scott Warren from the DIO band on keyboards. HEAVEN AND HELL Canadian dates, backed by MEGADETH and DOWN, were announced for March. The March 30th Radio City Music Hall, New York City concert sold out less than two hours after tickets went on sale. Indeed, ticket sales were so strong that HEAVEN AND HELL topped the listing of tours in Pollstar's ratings for January. At the band's live debut on March 11th, at the Pacific Coliseum in Vancouver, British Columbia, Canada, which opened with 'E5150', HEAVEN AND HELL performed all three new numbers, 'Shadow Of The Wind', 'The Devil Cries' and '‘Ear In The Wall'. UK tour dates in November saw the addition of LAMB OF GOD and ICED EARTH as support. Credit/s: Garry Sharpe-Young |
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Motörhead's overwhelmingly loud and fast style of heavy metal was one of the most groundbreaking styles the genre had to offer in the late '70s. Though the group's leader, Lemmy Kilminster, had his roots in the hard-rocking space rock band Hawkwind, Motörhead didn't bother with his old group's progressive tendencies, choosing to amplify the heavy biker rock elements of Hawkwind with the speed of punk rock. Motörhead wasn't punk rock -- they formed before the Sex Pistols and they loved the hell-for-leather imagery of bikers too much to conform with the safety-pinned, ripped T-shirts of punk -- but they were the first metal band to harness that energy and, in the process, they created speed metal and thrash metal. Unlike many of their contemporaries, Motörhead continued performing into the next century. Although the band changed its lineup many, many times -- Lemmy was its only consistent member -- they never changed their raging sound. The son of a vicar, Lemmy Kilmister (born Ian Fraiser Kilmister; December 24, 1945) first began playing rock & roll in 1964, when he joined two local Blackpool, England, R&B bands, the Rainmakers and the Motown Sect. Over the course of the '60s, he played with a number of bands -- including the Rockin' Vickers, Gopal's Dream, and Opal Butterfly -- as well as briefly working as a roadie for Jimi Hendrix. In 1971, he joined the heavy prog rock band Hawkwind as a bassist. Lemmy was originally slated to stay with the band only six months, yet he stayed with the group for four years. During that time, he wrote and sung several songs with the band, including their signature song, the number three U.K. hit "Silver Machine" (1972). Lemmy was kicked out of Hawkwind in the spring of 1975, after he spent five days in a Canadian prison for drug possession. Once he returned to England, Kilminster set about forming a new band. Originally, it was to have been called "Bastard," but he soon decided to call the band Motörhead, named after the last song he wrote for Hawkwind. Lemmy drafted in Pink Fairies guitarist Larry Wallis and drummer Lucas Fox to round out the lineup. Motörhead made its debut supporting Greenslade in July. Two months later, the group headed into the studio to make its debut album for United Artists with producer Dave Edmunds. Motörhead and Edmunds clashed over the direction of recording, resulting in the group firing the producer and replacing him with Fritz Fryer. At the end of the year, Fox left the band and Lemmy replaced him with his friend, Philthy Animal (born Philip Taylor), an amateur musician. Motörhead delivered its debut album to UA early in 1976, but the label rejected the album. Shortly afterward, former Blue Goose and Continuous Performance guitarist "Fast" Eddie Clarke joined the band. Following one rehearsal as a four-piece, Wallis left the band, leaving Motörhead as a trio; this is the lineup that would later be recalled as the group's classic period. However, the band spent most of 1976 struggling, performing without a contract or manager and generating little money. At the end of the year, they cut a single, "White Line Fever"/"Leavin' Here," for Stiff Records which wasn't released until two years later. By the summer of 1977, the group had signed a one-record contract with Chiswick Records, releasing their eponymous debut in June; it peaked at number 43 on the U.K. charts. A year later, the band signed with Bronze Records. Overkill, Motörhead's first album for Bronze, was released in the spring of 1979. The album peaked at number 24, while its title track became the band's first Top 40 hit. Motörhead continued to gain momentum, as their concerts were selling well and Bomber, the follow-up to Overkill, reached number 12 upon its fall release. The band was doing so well that UA released the rejected album at the end of the year as On Parole. Ace of Spades, released in the fall of 1980, became a number four hit, while the single of the same name reached number 15. Ace of Spades became Motörhead's first American album, yet the group was making little headway in the U.S., where they only registered as a cult act. Back in England, the situation could hardly have been more different. Motörhead was at the peak of its popularity in 1981, releasing a hit collaboration with the all-female group Girlschool entitled Headgirl and entering the charts at number one with their live album, No Sleep 'Til Hammersmith. Though the group was rising commercially, there was tension within the band, particularly between Clarke and Lemmy. Clarke left the band during the supporting tour for 1982's Iron Fist, reportedly angered by Kilmister's planned collaboration with Wendy O. Williams. Former Thin Lizzy guitarist Brian Robertson replaced Clarke. The new lineup released Another Perfect Day in the summer of 1983. Another Perfect Day was a disappointment, only reaching number 20 in the U.K. Robertson left two months later, being replaced by two guitarists: former Persian Risk member Phillip Campbell and Wurzel (born Michael Burston). Shortly afterward, Taylor left to join Robertson's band Operator, and was replaced by former Saxon drummer Pete Gill. This lineup released a single, "Killed by Death," in September of 1984, but shortly afterward the group left Bronze and the label filed an injunction against the band. As a result, Motörhead was prevented from releasing any recordings -- including a bizarre collaboration between Lemmy and page-three girl Samantha Fox -- for two years. Motörhead finally returned to action in 1986, first with a track on the charity compilation Hear 'n Aid and later with the Bill Laswell-produced Orgasmatron, which was released on their new label, GWR. Orgasmatron was successful with the band's still-dedicated cult audience in England and America, and received some of the group's best reviews to date. The following year, they released Rock 'N' Roll, which was equally successful. In 1988, the live No Sleep at All appeared, and Lemmy made his acting debut in the comedy Eat the Rich. Two years later, the band signed to WTG and released The Birthday Party. Taylor briefly rejoined the band in 1991, appearing on that year's 1916, before Mikkey Dee, formerly of King Diamond, took over on drums. Dee's first album with the band was 1992's March or Die, which didn't chart in the U.S. yet played to their U.K. cult following. WTG dropped the band after the album's release and the band started their own label, appropriately called Motörhead, which was distributed through ZYX. Their first album for the label was 1994's Bastards. For the remainder of the '90s, Motörhead concentrated on touring more than recording. Outside of the band, Lemmy appeared in insurance commercials in Britain. He also acted in Hellraiser 3 and had a cameo in the porno movie John Wayne Bobbit Uncut. In 1997, the group moved to the metal-oriented indie label Receiver and released Stone Dead Forever; the live Everything Louder Than Everyone Else followed in 1999, and a year later they returned with We Are Motörhead. Hammered appeared in 2002 and was followed by 2004's Inferno. In 2005 the Sanctuary label reissued some of the band's classic albums (Overkill, Ace of Spades, and Iron Fist) in two-CD deluxe editions. A collection of all-new material, Kiss of Death, arrived in 2006. Stephen Thomas Erlewine, All Music Guide |
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www.manowar.com "I believe in the fans. I believe in metal more than anybody you've ever met. And another thing, I'm prepared to die for metal. Are you?" At the end of the film classic Conan The Destroyer, the title character sits on his throne. Though his thick muscles bear the scars of his many hard-fought battles, his steel-eyed gaze over his vast kingdom shows how proud and mighty he remains. His enemies vanquished, the challengers to his throne dispatched, it is time for the triumphant king to rest. This is the fate MANOWAR’s members could have accepted in 2007. Having conquered the world time and again since the band’s inception, what’s left for these warriors, these kings, to prove? What is the possible impetus for the band to forge ahead? No one would have faulted MANOWAR’s members had they laid down their musical weapons to savor the spoils of their conquests. Their last live show in Germany—July 23rd 2005—at The Earthshaker Festival, featured the largest heavy metal stage ever built. The inclusion of a 100 piece orchestra and a 100 piece choir as well as a legendary fireworks display timed to their final piece of music: what a way to leave off. For MANOWAR’s members, however, the mission remains far from accomplished. At a time when even bands with the word "metal" in their names dismiss the greatest rock genre ever, MANOWAR’s music will never be tainted by trends or diluted by outside pressure. The band’s members remain steadfast in their resolve: to deliver to their ever-growing international legions of die-hard fans the brand of metal they demand to hear. It is this drive—making the band so oblivious to most ignorant critics it often seems as if our heroes exist in a musical vacuum—that has helped MANOWAR create Gods Of War. The band’s 10th studio album not only exceeded fan expectation, it just might be the cornerstone of a legacy of classics that includes Into Glory Ride, Kings Of Metal and Warriors Of The World. Although MANOWAR did create the conceptual "Achilles, Agony and Ecstasy in Eight Parts" for their 1992 classic The Triumph Of Steel [the album’s 30-minute lead track was a metal statement to its record company at the time, who were pressuring the band to create music friendly to the then popular musical trend], the band have never created an entire concept album. Until now! Gods Of War is the first in a cycle of concept albums paying tribute to different war gods. Fittingly, the first chapter in this album series details the history and exploits of the almighty father of the Norse Gods, Odin, whose power and wisdom were unmatched among the Gods and hailed on the battlefield with human sacrifice. This tale, which unfolds throughout soon-to-be MANOWAR classics like "Loki, God Of Fire," "The Sons of Odin", "Glory, Majesty, Unity," and the awe-inspiring epic "Hymn Of The Immortal Warriors" revolves around a central character, who is supported by four other characters. The main character is known to us as The Immortal Warrior, who is on a quest to earn his rightful place in Valhalla alongside Odin, the God Of War. The Warrior is aided by the four sons of Odin, his elite guards, who guide him on his way. His journey from darkness into light takes listeners from the beginning to the end of this record, which is the way this record should be heard: non stop. Where the enigmatic Immortal Warrior, whose imposing figure is seen on the covers of MANOWAR’s studio albums and DVDs, ultimately concludes his journey is up to the listener to discover. "The Immortal Warrior’s journey is a reflection of all of our lives," says bassist Joey DeMaio. "One must pass many of life’s trials to achieve victory." Although MANOWAR albums are known for their high quality productions—Fighting The World (The band’s fifth release) was metal’s first full-digital recording—Gods Of War is the band’s most epic undertaking to date. Singer Eric Adams believes it the birth of a new metal sound. "When people listen to this record for the first time," he says, "They will think, ‘this is not metal.’ But it’s not the metal they’re used to hearing. It’s metal MANOWAR and only MANOWAR does." MANOWAR’s predominant message has always been "believe in yourself." This is why so many fans find these lyrics to be a constant source of inspiration. "We’re ‘The Warrior Souls of Heavy Metal,’ says guitarist Karl Logan. "So we immerse ourselves in mythology. Mythology is the exploration of basic human themes like life, death, jealousy, love and revenge: the things that motivate people. And the lyrics on Gods Of War are metaphors about overcoming the obstacles in our lives; breaking free of whatever is restraining us. Be all you can be as a person and never accept limitations." The creation of Gods Of War was not devoid of obstacles. The band was forced to delay its release when, deep into the recording sessions, Logan suffered a devastating injuring after crashing on his prized dirtbike. Logan dislocated his elbow in the accident, an injury so severe it could have resulted in permanent nerve damage, ending his musical career. But the guitarist fought back and after months of painful rehabilitation, he boasts he has never played his instrument better. In the interim, the band turned tragedy into triumph by expanding their latest creation. "We wanted to give the fans more," explains DeMaio. "More fire, more steel, more blood, more death, more power, more energy, more emotion, more dynamics, more moods, more orchestration and more choirs: we wanted to give our fans more MANOWAR." And while other metal bands musically emulate the artists at the forefront of current, tired trends, Manowar found inspiration listening to the legendary classical composer Richard Wagner, who DeMaio declares was "The father of heavy metal." "Wagner’s music changed my life many years ago," the bassist confesses. "I don’t know if I could live another day without the feeling his music gives me. He was the greatest composer ever. He invented metal." During MANOWAR’s incomparable career, the band have recorded 10 studio albums; two live albums; five DVDs and countless compilations. Their last album, 2002’s Warriors of The World reached number two on the German album charts and reached the top 10 in many countries throughout Europe and Asia. A band achieving their largest success after nine studio albums? Unheard of! What is the key to MANOWAR’s longevity? Why has the band remained fresh, strong, consistent and innovative after so many years? Throughout their legendary career, the members of MANOWAR have not only overcome each and every obstacle lain in their paths, they have consistently been innovators. Among Manowar’s many innovations, they were:
Once MANOWAR’s 10th album is in fans’ hands, it is time for the band’s Demons, Dragons and Warriors Tour to begin its second world invasion. And as fans have become accustomed to, MANOWAR will deliver an awesome live show that will dwarf every stage show that has come before. "We have just one goal," says Adams, "To bring true metal and the greatest show on earth to the greatest fans in the world." For MANOWAR’s upcoming tour, the band will take fans to Valhalla. This will be achieved by mobilizing seven trucks and eight buses and a crew of over 100. Armed with more than 450,000 watts of lighting and 150,000 watts of sound equipment plus 40,000 watts of stage amplifiers, the band are ready to melt fans’ faces. "The fans are the reason MANOWAR have reached this level of success," says drummer Scott Columbus. Every band argues they have the greatest fans, but how many of these artists’ fans tattoo the band’s logo on their bodies? How many will travel from the furthest corners of the planet to see just one show. It is because of this that MANOWAR now have a policy that every fan that travels to a show from abroad will be given a free MANOWAR t-shirt not for sale anywhere. They will also receive another cool merchandise item free. All they need for proof is their passport. Throughout MANOWAR’s storied career, the band have faced the trials and tribulations shared by most musicians forging a career. Although MANOWAR have been triumphant in their battle to succeed and have stayed their course through rough waters, they’ve witnessed many other bands fall to the perils of greed and commercialization in the music industry. To that end, MANOWAR created Magic Circle Music to help other bands avoid those pitfalls by giving the power back to the musicians and the fans. Already boasting an awesome roster that includes Rhapsody Of Fire, Bludgeon, HolyHell and Majesty, Magic Circle Music is proud to release MANOWAR’s Gods Of War. Besides a standard CD format, Gods Of War will be released in a limited-edition embossed metal slipcase containing a high-grade media book bound in leather. Furthermore, this limited edition will feature a bonus DVD with unreleased material detailing the making of this album and some special behind-the-scenes footage. A triple-vinyl LP in a gatefold sleeve will also be available. Gods Of War features brand new cover artwork by the world’s leading fantasy artist Ken Kelly as well as a scorching mix done by the unparalleled Ronald Prent at the Galaxy Studios in Belgium and mastering by two-time Grammy winner Darcy Proper. After all of this only one more thing can be said: See you on tour. |
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| design by Victor Alexandrov | ||||