The birth of a hero

Charles Michael ”Chuck” Schuldiner was born on May 13 of 1967 on Long Island of New York in the United States Of America. His father was Jewish with an Austrian origin and his mother was from the American South, rather keen on Judaism as well. His bigger brother Frank died at the early age of 16, a hit under the belt for young Chuck which hardly got over until the end of his own life as well. He also had a sister named Bethanne. His parents considered on buying him a guitar to ease his grief for his brother’s loss. It seemed that this was not the right treatment, as Chuck didn’t really like the stuff he was being taught and he quickly quit the lessons. He was a child that wanted to do his own thing from the very beginning and that’s something he kept through the years to come. Until the day when he was being given his first electric guitar. That was it. The youngster finally found what he thought was appropriate for him and started practicing as much as he could, especially when he got his first amps he would play for hours, when given space for it, because of his school duties.

Loving the electric guitar, influences, forming Death

Despite being always a clever child, he was never the type of guy who loved school, which later also quit, as he found no interest on it, being rather born of the education he was given. After many years he regreted this decision but never regreted the efforts he made to achieve all of dreams.Chuck was very much into the NWOBHM (New Wave Of British Heavy Metal) scene. However, his taste in music was never limited and he found many bands to accompany him to his early style of playing. Kiss was definitely one of them, then came bands like Iron Maiden, Judas Priest or Saxon and artists like Billy Idol to gain his interest. The fire was lit and Chuck’s ongoing discoveries lead to the French band Sortilege from Paris to become his favourite one. Later on, his taste in music became more extreme and then came Slayer, Possessed, Metallica and Mercyful Fate in which he owes a lot for making his band Death sounding the way it did. Death were founded in 1983 in their first form under the name of Mantas, but later, to avoid confusion with Venom’s guitarist (another band that inspired Chuck a lot). He also contributed as a second guitarist for the Canadian thrashers Slaughter in 1986 when Death were on a little hiatus, but this cooperation didn’t last long.

Gory beginning, promising debut

In his musical career, he never wanted to do the same thing again. That’s why the music of Death would evolve from album to album in all the forms Chuck would consider accessible. On May 25th 1987, the first album of Death, ”Scream Bloody Gore” was released. It was recorded twice due to the crappy sound of the initial recording, producer Randy Burns managed to save Chuck and his partner Chris Reifert (who later became the mastermind of death metal pioneers Autopsy). Chuck played also the bass on this recording, together with all guitars, rhythm and lead. Chris played the drums (he had joined earlier for the ”Mutilation” demo) and the album got tremendous reviews. Nothing like this was heard before and it is considered to be the first real death metal album, that’s also why Chuck was named ”The Godfather of death metal” since then, though he would always insist that he was just doing his own thing. At times, he would become angry about it and state that Possessed should get all the recognition about death metal with the release of their landmark album ”Seven Churches” back in 1985.

The trademark death metal album which everyone still tries to reproduce

It was time for evolution though and Chuck knew very well what to do. The next year, he releases ”Leprosy” on November 16th, 1988 with the help of his old partner in Mantas Rick Rozz (full name Frederick DeLillo) on the guitars and Bill Andrews on drums. Chuck played the bass on the recording again but was not credited for it. The credit instead went to Terry Butler who filled the line-up. Far away from the aesthetics of ”Scream Bloody Gore”, the new album was many steps forward and until today, defines the whole death metal genre. In my personal opinion, ”Leprosy” is for death metal what ”Hell Awaits” is for thrash metal, simply the album that all future attempts of bands were based in order to create something so unique (with the exception of very few bands like Morbid Angel or Obituary for example). Chuck quit the gory lyrics and decided to write about stuff that make people think a bit. ”Pull The Plug” which is the most characteristic song of the band until today, talks about a man held in life by mechanical support and his choice to die, for not suffering any more. It was clear that Death was not just an ordinary band and Chuck surely was not just an ordinary guitarist and vocalist, but a man with vision and he would never throw his own group into the trap of repetition.

And so came spiritual maturity

Work continued, the Death machine seemed unstoppable and despite another line-up change, with Rozz being fired in 1989 and James Murphy, another young and promising guitarist, joined the band. The third and crucial album ”Spiritual Healing” was released on February 16th, 1990. The album of Death’s maturity for sure, where the sound cleans a lot but extremity remains. Having a more skilled guitar player than Rozz, Schuldiner writes some of the best compositions of his life and especially the solos of the album seem like a battle between Chuck and James (”Low Life” should be taught on universities about how to create a solid riffed song accompanied by insane perfect solos). Chuck expresses his worries once again with tracks like ”Living Monstrosity” which is totally against drugs or ”Altering The Future”, an anti-abortion song. The young naive Chuck and Death had really grown up and the album sold thousands of copies. That was the last album to feature Ed Repka on Death’s covers and the last albums with a steady line-up. Chuck refused to go on tour and the rest of the members went on tour with Kreator in Europe without him. Chuck didn’t want the band to tour over Europe because of a bad memory of his previous European gigs. He felt it wouldn’t be organised properly. Add the fact that he had his personal issues back then and here’s the end of Death’s full line-ups. Chuck totally fed up by this fact would only hire session musicians in the future,

Changes and a revengeful statement that seemed everything but human

That’s why his next album ”Human” was stated as a statement and a revenge for him. He would also say ‘’support music, not rumours” on the booklet of the album, because of the many negative rumours his name would undergo through, mainly about this last incident inside the band. With the help of the Cynic members Paul Masvidal on guitars and Sean Reinert on drums, and the great Steve DiGiorgio on bass, a member of thrashers Sadus who had also played with Chris Reifert on Autopsy. ”Human” was released on October 22nd, 1991 and is the album of perfect balance for Chuck and Death. Sounding fresh, aggressive, hyper-technical and with the best vocals he ever did, it seemed that enabled their leader to start his career over at a very critical point. Death were more alive than ever and only positive outcome could Chuck bring upon himself and his fans as well. Scott Carino replaced DiGiorgio for the upcoming ”InHuman Tour” and also, a compilation album called ”Fate” (ironically tragic, right?) followed the next year. It was time for radical changes inside the band and Chuck would never stop surprising his fans. The first video of the band was filmed for the legendary ”Lack Of Comprehension”. It still remains Death’s best selling album with over half a million copies being sold.

Food for thought

After a very successful tour, Death released their fifth album ”Individual Thought Patterns” on June 22nd, 1993. Chuck’s favourite album by far, with the help of ex-Dark Angel drumming phenomenon Gene Hoglan, Steve DiGiorgio on bass again (maybe the best rhythm section in the history of metal music) and King Diamond guitarist Andy LaRocque. Chuck would describe this line up as gifted musicians that fill a great chemistry and the mood of the recordings was filled with fun. This is where Chuck reveals his Watchtower and Queensryche influences more than ever, as we are talking about a progressive death metal masterpiece. It was then when he started thinking about having a project in the future where he would just play guitar and have a high-pitched vocalist in the veins of Rob Halford, creating a traditional metal album with a progressive touch on it. ITP remains until today a state of the art creation and is the influential point for today’s bands like Obscura for example. A video for the last track of the album ”The Philosopher” was also filmed, making it the second and last official video of the band. They would tour for the album with Ralph Santolla and Craig Locicero of Forbidden on guitars.

Symbols sometimes tell nothing but the truth

Chuck took part on the 1994 release of the supergroup Voodoocult on their first album ”Jesus Killing Machine” by contributing some solos on the tracks ”Birn Bad And Sliced” and ”Voodoocult”, an album also featuring Dave Lombardo of Slayer on drums and Waldemar Sorychta (ex-Despair, ex-Grip Inc, Enemy Of The Sun, great producer as well) on guitars.Musical search continued also on the next challenging album ”Symbolic” which was released on March 21st, 1995. With Gene Hoglan once again on drums and with Kelly Conlon on bass and Bobby Koelble on guitars, this album is characterized by the maelstrom of riffs it contains and also the big change in Chuck’s vocal style, where he attempted a less brutal and more screaming high-pitched style which would develop on the next album as well. Steve DiGiorgio was supposed to be the bass player for the album again, but this finally didn’t happen, causing a big argument between the two friends which was quickly solved. ”Symbolic” is the album on which many fans got to know Death and is still one of the most favourites. Chuck includes many acoustic guitar parts inside the album and for the first time maybe, fans started to understand that he had a lot more to give as a musician. Even die-hard death metal fans, recognize this album as something very unique and not even the longer duration of many songs compared to the past, was an obstacle to make the world press give praises to the band. And then comes a hiatus for the band, as Chuck decided to split the band, only to reform them some years later.

The sound of what was in Chuck’s mind for ages

The reason was that Chuck was craving to do the traditional metal project mentioned above. The new band’s name would be Control Denied and it was a dream to come true for Chuck. The working title for the band’s first album was ”A Moment Of Clarity” and Warrel Dane of Nevermore (Sanctuary as well), the band that accompanied Death on the ”Symbolic” tour, would be the singer. But this finally never happened and Chuck felt it was time to ressurect Death for a final album before going on with Control Denied. The final Death album ”The Sound Of Perseverance” would be released on August 31st, 1998 and would feature some songs that were supposed to be on the Control Denied album. Another great album for the band, the perfect way to close a legendary chapter, with Chuck’s vocals even more high-pitched, and with an amazing cover of Judas Priest’s ”Painkiller” included. Accompanied by guitarist Shannon Hamm, bassist Scott Clendenin (instead of Steve DiGiorgio which was supposed to participate on the album again) and drummer Richard Christy, Chuck unleashed his final Death attack which caught all listeners by suprise. A final tour would follow and so ended the Death chapter in its most glorious way.

Control Denied, but not life denied…yet

But Chuck didn’t have any time or room for thought. He was 100% given to release the Control Denied album. On his 32nd birthday, on May 13th, 1999, ”The Fragile Art Of Existence was released and it was time to enjoy Chuck as a composer only, as Tim Aymar handled the vocals, Steve DiGiorgio the bass (finally after two failed attempts in the past) and his partners on the last Death album, Shannon Hamm on guitars and Richard Christy. The most different and most special album Chuck ever released was finally over and listening to it, we can understand why Chuck wanted to fulfill this dream for almost a decade. Imagine the most heavy progressively extreme album with clean vocals you can think of, maybe you won’t even reach the variety of this album. The last baby Chuck gave birth so far was about to become the starting point of new explorations in the whole metal scene, as Chuck once did with Death very successfully. But it’s many times in life where things don’t come as we want them and during the recordings of this album Chuck started feeling pain in his neck. What was thought to be a damaged nerve, proved to be a tumor. The diagnosis’ result was he had a pontine glioma, a type of a brain cancer that invades the brainstem, the part where the lower brain part connects with the spinal cord.

The hard struggle and the metal community’s help

Chuck had to immediately start chemotherapy and a few months later, on October, the good news were that the tumor was not threatening any more. A little later, on January of 2000, Chuck successfully went through surgery and the good news spread all over the world. However, it was a very expensive operation, which made the whole Schuldiner family struggle financialy. Numerous fans and known musicians managed to help Chuck through his fight with fate, by raising funds, auctioning stuff on E-bay and everywhere possible, concerts were being held for money to be collected, and in general, the whole metal community stood by his side as much as possible. Chuck’s adventure intrigued the whole world and after his first meeting with death, he could be able to continue on what he loved most, writing and playing music. Unfortunately, in 2001 the cancer came back and Chuck’s organism suffered once again. The cost of a new operation would be very expensive and Chuck first denied the operation because there were no money. Artists such as Anthrax, Ozzy Osbourne, Napalm Death, Dave Grohl (ex-Nirvana drummer, he wanted Chuck to take part in his Probot project), Kid Rock, Red Hot Chili Peppers and many others, did the best they could with the help of MTV to collect money for Chuck by auctioning valuable stuff. Also, Trivium played a beneficiary gig when they started their career, and the money went for Chuck’s help.

Death is never fair

Unfortunately Chuck was weakened through all these chemotherapies and he got ill with pneumonia. Especially on November of 2001 his condition got much worse and he finally lost the battle of life on Thursday, Decembert 13th at 4 A.M. His loss spread grief and pain through the whole music scene. Few could believe that such a charismatic person would exist no more, metal fans suffered a preemptive strike and the feeling of injustice was raised on all topics concerning him. His body was cremated and his memorial was attended by all the members included on Death and Control Denied, as well as musicians with the heavy name of Dimebag Darrell (who also passed away on December 8th, 2004), Mike Patton, Max Cavalera, Trey Azagthoth, Glen Benton, King Diamond, Ville Valo and many others. We cannot predict what Chuck would do if he had lived, but we can assume that whatever he would decide, he would have thought of it very thoroughly, as he was very demanding for his material, some people say that he was the definition of the word perfectionist, despite being very open-minded and always ready to discuss about stuff concerning music.

A person full of life with a band named Death

As a person, Chuck was always a very positive man. He loved animals very much, that’s why he considered his two dogs like brothers. He was a very caring person that had a lust for life. He once stated that he would love to live forever if possible. There were times when his smile would simply leave you unable to say or do anything. There were also times when he would insist on some things, maybe in a very persuasive way. But that was Chuck. A man always believing in his skills, without offending others. His advice to younger people that started music was always train, practice and never take things for granted. Out of personal experience, I can tell you all than when he came to Greece, he couldn’t believe his eyes with the welcome he had. People would tell him he’s a god among humans and Chuck would answer that he’s just a fan like all of us. That night on the legendary Wizard Club, where he saw his face being sketched on one of the club’s walls and the Wizard logo on the pit place designed with the Death logo style, his smile was brighter than ever. He didn’t refuse to sign to anyone, he stayed until very late at night, it almost got morning when he left and he told us he would see us on the venue the following day. Before and after the show he did the same thing again, he came as close as he could with the fans and what amazed us all was his sincere statement that if he knew what welcome he would have, it wouldn’t take him so much years to come to Greece. I still remember your promise that we’d meet again. There’s no hard feelings because I know you meant it. It was just not up to you any more. I hope I’ll see you somewhere else, in a surely better place than this. As he would always say, ”let the metal flow”. I shall live the final words to him, as he stated in the final lines of ”Believe” by Control Denied’s ”The Fragile Art Of Existence”:

If I was paid for disappointments I would be a wealthy man
The magic lives in sincerity, in truth, behind the
thoughts I choose to stand…
Awaiting discovery…

Aggelos “Redneck” Katsouras

The Cathedral of doom!

It all started back in the year of our Lord 1989. Lee Dorrian, former singer (or should we say growler?) of the legendary Napalm Death quits the band, as he was sick of the whole punk scene back then, with the rest of the band trying to move in a more death metal direction for their upcoming album ”Harmony Corruption”. So he decided to move on and form another band in a totally different musical direction. He found Mark ‘Griff’ Griffiths for the bass guitar (who was formerly a roadie for the other legendary grindcore band Carcass) and Gary ‘Gaz’ Jennings for the guitars who had just left the English thrashers Acid Reign. Dorrian and Griffiths were very much into bands such as Black Sabbath, Witchfinder General, Pentagram, Trouble, Candlemass and many others and they decided to try and play like them, reviving their sound as much as possible. The band was named Cathedral Of Doom but soon cut the name and until today remained the one we all have known and loved so far: Cathedral! Soon, the band was joined by Adam Lehan on guitars, the guy that replaced Jennings in Acid Reign (no hard feelings as it seemed) and Ben Mochrie on drums and their first demo entitled ”In Memorium” was completed in October of 1990, including a cover on Pentagram’s ”All Your Sins”. They also released another demo called ”Demo #2” the next year, where Mike Smail replaced Ben Mochrie on drums. With this line up, it was about time releasing the first full length in the ends of 1991.

An album where equilibrium collapses under the weight of its songs!

On the summer of 1991 the band enters Workshop Studios in Redditch to complete their first full length entitled ”Forest Of Equilibrium”. Earache is the record company that signs the band and on December of the same year the album is released. 20 years later, its impact is still large and it is few we can tell about its worth. A sample of total doom metal crawling next to everybody’s ears for about 54 minutes, divided in seven songs. The funny thing was about the press, always emphasizing on the fact that Dorrian left the fastest band in the world (Napalm Death) back then to join the slowest one (Cathedral). Songs like ”Ebony Tears” (a video was made for that one) and ”Serpent Eve” are the ones that stand out as the most characteristic ones, though ”Soul Sacrifice” is the short one of the album, lasting less than three minutes. What made a great impression was the outstanding cover of Dave Patchett, who still accompanies the band with his artwork until today. His style is really unique and one not knowing, should open the whole booklet in every album to see the magic hidden behind his art. The band appeared on a split made by Earache called ”Gods Of Grind”, also featuring Entombed, Carcass (the only grind band of the compilation) and Confessor! This was released the next year. Before that, on the beginning of 1992 in January, they enter Rhythm Studios to record their first EP ”Soul Sacrifice”, which was relased in October, with a different version of the title track compared to the debut and with Mark Ramsey Wharton having replaced Mike Smail on the drums. Quite experimental and different compared to the first album, the signs of change in Cathedral’s music were clear and the second album was awaited with a lot of expectations by the fans. A video was made for the song ”Autumn Twilight”.

Looking in the mirror, you sometimes see another you!

In 1992 Mark Griffiths leaves the band and Cathedral are without bassist at this point of time. Whoever thought this might discourage them, was totally wrong, as they move on without hesitation and during the year they record their second full length ”The Ethereal Mirror” at Manor Studion in Oxford. Gaz takes over the bass duties also and the album is released on the first day of February 1993. It is clear from the first gigantic riff of ”Ride” that the whole musical direction has changed in something more groovy and up-tempo and the songs seem to breathe a little more. The album flows like clear water with amazing stuff such as ”Enter The Worms”, ”Grim Luxuria”, and the trademark song ”Midnight Mountain” for which a great hippie-like video was made (as another video was made for ”Ride” also). To many people, this is the real Cathedral sound and they consider it the best album they have done so far. It was a definite step forward and it made the band optimistic for a brighter future. Work continues as Cathedral are full of inspiration and on August they enter Rhythm Studios to record the second EP ”Statik Majik” which sees the light of day in April of 1994. It contains the large nearly 23 minute opus ”The Voyage Of The Homeless Sapien” and it was re-released in August 1994 as ”Cosmic Requiem” with the only change that it featured ”Funeral Request-Rebirth” instead of ”Midnight Mountain”. A video was made for ”Cosmic Funeral”. Things seem to be getting on the perfect direction and the departure of both Adam Lehan and Mark Ramsey Wharton doesn’t reduce the morale of the band. Replacement is soon found on Leo Smee on the bass and Brian Dixon on the drums, a line up that lasted until the moment of the release of their last album so far for about 17 years. Before that, the band was helped by Victor Griffin of Pentagram on guitars and Joe Hasselvander (ex Raven) on the drums.

The dream album, the moustache of metal, and the eternal trademark song in their career!

Recorded in Nottingham in May 1995, the third full length of Cathedral entitled ”The Carnival Bizarre” marks the point where Cathedral reach the peak of their inspiration and are officially established as one of the top bands in the rock/metal scene at this specific moment in time. With the new line-up proving that fit perfectly from the beginning, the album is released in September 1995 and we can claim there ain’t a single second unworthy in it in the 63 minutes of music it contains. The initial ”Vampire Sun” is a classic live opener until today, ”Utopian Blaster” contains a solo by Tony Iommi in maybe Cathedral’s most happy moment in life (we know that all of them are declared huge Black Sabbath fans) and if there is one song everyone knows from this band, that it definitely ”Hopkins (The Witchfinder General)” with a great video done for that (I know many people who fell in love with the actress), featuring excerpts by the legendary movie ”The Witchfinder General” where the enormous Vincent Price is starring. The whole sum is really amazing and in my personal opinion, we’re talking about Cathedral’s finest hour to date. The album was followed by the ”Hopkins” EP in April of 1996, a great EP once again with a cover on Arthur Brown’s ”Fire” and the amazing ”The Devils Summit” at the end, showing how open-minded and experimental they could get on their EP’s. And then they straightly ride for the release of their next album. Shortly after ”Hopkins” EP they enter Parkgate Studios, in Battle and they record the fourth full length album.

The hasty movement that could have been avoided!

On November of 1996 ”Supernatural Birth Machine is released and it seems/sounds for the first time in their career until then, that it’s a step backwards compared to what they had released so far. The album is not bad at all, completely the opposite. But it really sounds like it was done rather hasty, maybe to take advantage of the whole momentum, since their name was rising on and on. It contains great stuff on it such as ”Urko’s Conquest” (straight reference on General Urko from ”Planet Of The Apes” series on TV, the love of all members for horror movies and cult TV series is also widely known), ”Cyclops Revolution”, ”Birth Machine 2000” and of course, ”Stained Glass Horizon” which is the one that got a video made for it. In overall, the album is still heavy and full of quality, but at some points it seems that a little of the magic is gone and also, Dorrian’s vocals are a little strange on this recording (to say the least). The response from the press though was not negative at all so the band’s rumor was not ruined. Any publicity is good publicity they say, Cathedral were still here alive and kicking. And they proved it in the best way with their next albums. Who was born perfect anyway?

The caravan that brought redemption!

In late 1998, we had the release of the band’s fifth full length album ”Caravan Beyond Redemption”. Recorded on the summer of 1998 at Chapel Studios in Lincolnshire with the help of production master Andy Sneap, this album had all potential to become very special. And it did, as it is surrounded by positive energy and the clear and heavy production helps a lot to it. Dorrian does the best singing of his life until then, the band seems refreshed, having learned their lesson with the previous album and some of the best songs they have written in their whole career are included here, such as ”Voodoo Fire”, ”Captain Clegg”, ”Earth Messiah” and the heavy entities of ”Satanikus Robotikus” and ”Heavy Load”. Experimental moments are not missing with ”Kaleidoscope Of Desire” being a quite different track and a video for the bonus track of the Japanese version of the album ”Black Sunday” is made (do you know many bands that would do such a thing? If so, tell me). The album was a great success and put the band back in order, somehow though it seemed that they needed something different to give them motive for the years to come. The answer came three years later in a very convincing and uncompomising way, catching all fans by great surprise.

Time for the end? Of course not. It is written with a Y after all!

After the re-release of the two first EP’s ”Soul Sacrifice” and ”Statik Majik” in one cd (long out of print and demanded by the fans) in 1999 and their first demo ”In Memorium” (changed in ”In Memoriam” and with five live bonus tracks added, recorded in Holland in 1991) in 2000, there was also a DVD/video tape entitled ”Our God Has Landed” released in 2001, featuring all the promo videos of the band until then plus a live performance from the ”Gods Of Grind” tour back in 1992, a perfect sample for the fans wanting to have an extra bit of the band and feel it close to them. In the summer of 2000 Cathedral were recording their next album in Chapel Studios, the album was released in February 2001 entitled ”Endtyme” and it was a big shock for fans and non fans. This time, the band decided to make a U-turn and return to their roots, thinking that continuing in the same direction as in the previous four albums might mean the end of the band. A suffocating heaviness pours out from the speakers for 64 minutes and the heaviest album in Cathedral’s history was an undeniable fact. ”Melancholy Emperor”, ”Whores To Oblivion” and ”Alchemist Of Sorrows” are only a few stand-out tracks in a very solid album that even people not familiar with the band’s material praised it for its music. The goal was achieved and they could go on free from any stress or thoughts concerning their future or music. It is also the album that doesn’t contain a cover by Dave Patchett, as there were rumors of no high budget for the cover by Earache. The Japanese version did actually enjoy a different cover by the charismatic artist. That was the last album for the band in Earache, marking the closing of a chapter that lasted about a decade.

Second half of their history begins, new record label, controversial album!

Once again, Cathedral return to Chapel Studios to record their seventh album in July 2002 which was symbolically called ”The VIIth Coming”. The album was released on October of the same year under the label of Dream Catcher Inc. Once again a good heavy album with much tracks to be nominated such as ”Phoenix Rising”, ”Resisting The Ghost”, ”Skullflower” and the Celtic Frost tribute track ”Congregation Of Sorcerers” (are you morbid? UGH)! However, fans and press are sometimes really hard to catch and the album was not faced as something really impressive. Maybe the impact ”Endtyme” had left was much more greater than expected, maybe it was the wrong album at the wrong moment. Who can clearly tell after all? I remember watching this album at the offers in each record shop and still not getting the reason why (fans didn’t ask much about it though, they would just come in and simply buy it). In the same year, Dorrian took part on the album ”Rampton” by the super project Teeth Of Lions Rule The Divine, with Stephen O’Malley and Greg Andersson from the legendary Sunn O))) and drummer Justin Greaves of Iron Monkey and Electric Wizard. Fans of ”Forest Of Equilibrium” and ”Endtyme” must check it out immediately. ”The VIIth Coming” was a one-off co-operation with Dream Catcher Inc. and despire the fact that the album still raises a lot of controversy and the fact that Leo Smee had left the band for a while, replaced by Max Edwards as a touring bassist, they managed to avoid any problems and signed a contract with Nuclear Blast Records in 2004. In June of the same year, a great double compilation cd was released by Earache (as usually happens when there are contract issues) entitled ”The Serpent’s Gold”, with the first cd being a best of (”The Serpent’s Chest”) and the second cd a great collection of unreleased tracks (”The Serpent’s Treasure”).

Welcome to the garden, we’ve got fun and games!

Once again, Cathedral enjoyed the process of recording another full length album, number eight in their catalogue and first for Nuclear Blast Records. Inspired by a painting of a famous Dutch painter, Hieronymous Bosch, the album is entitled ”The Garden Of Unearthly Delights”. Cathedral sound like in the same state after ”Supernatural Birth Machine” when they released ”Caravan Beyond Redemption”. With rumours spreading that the band was about to split up after ”The VIIth Coming”, the quartet sounds tight and inspiring once again and with tracks like ”North Berwick Witch Trials”, ”Upon Azrael’s Wings” and ”Oro The Manslayer” they do nothing more than proving it. Also, here we have the longest Cathedral track ever with ”The Garden” lasting about 27 minutes (longer than an EP itself). Something to be mentioned is that the digipack version of the cd contains an apple smell once you open it, which also spreads in your room while listening to this cd, connecting it with the cover where the green apple is put to the center of it. It took them four and a half years until they release another album, but they toured taking part in many festivals and proving once more that once they step on the stage, nothing can beat them.

The double album and the shock decision!

On late 2009 Cathedral moved on to record their latest album so far called ”The Guessing Game”. Released on March 2010, it marks the most daring Cathedral release to date, consisting of two cd’s with a total of thirteen tracks and 85 minutes of music. This time Cathedral sound like a ’70s band, paying tribute to their old listenings and heroes. As we mentioned before, a very risky move that left the press not uninterested, with both praising and negative comments surrounding the album. In my humble opinion it is their least interesting effort to date but it is all a matter of taste, as I know people that don’t like the other albums and they like this one only. The shock came on February of 2011 with Cathedral announcing that the time to disband has come after 20 years and that after a last tour until the end of the year, a last album will follow in 2012. Lee Dorrian stated that it’s a miracle the band lasted that long but it was time to call it a day, as they felt it could go nowhere further. A painful decision for the fans but rather respectful in all ways, showing that Cathedral were first of all honest to theirselves all these years and to their fans also. The band is touring with Scott Carlson of the legendary Repulsion in this last tour, having took over the bass duties in the place of Leo Smee, so make sure you’ll catch them up for another extra reason among the others.

The legacy, the aftermath, the memories!

Cathedral was not a love/hate situation as it proved to be after two decades. People liking all kinds of music had most of the times something positive to say. Praising their honesty and composing ability, their status was always clear and large. They never were the band that would sell millions but they were responsible for the rise of the so called ‘’stoner” scene (especially when Kyuss split up in 1995) and especially Lee Dorrian helped the whole scene a lot, with his record label Rise Above Records. He has signed bands like Orange Goblin in the past or like Ghost in the current moment, to mention a few. Cathedral were the expressionists of the Black Sabbath vision in music, always making things simple while playing and always remaining close to their roots, though it was needed to dive deep into them in ”Endtyme”. They were fortunate to have great players from the beginning and a line up that lasted 17 years and helped the band remain tight and solid through its whole evolution. They will forever be acknowledged as one of the best bands one could encounter in his whole lifetime and they will be missed for all the reasons mentioned above. I was lucky to see them three times, first in ”Caravan Beyond Redemption” tour in Athens, second in ”The VIIth Coming” tour in Thessaloniki (not even 100 people there, what a shame) and third and last so far in Hellfest 2009 in France (amazing performance). When I came across them in 2002 and had the luck to meet them all in person, I was able to know their kindness in person, their rather cool minds and the mood to discuss with their fans anything possible. Dorrian told me that some day he’s going to make another grind album like the old Napalm Death ones (I was lucky to see him performing with Napalm Death in 2009 also as a guest invited on stage, what a fortunate series of events), Gaz told me that it was an honour for him to play a song sounding like Celtic Frost (meaning ”Congregation Of Sorcerers”) and Dixon was very smiley and teasing the other two guys. He also gave me a drum stick, asking me first to wait a while before I leave. I didn’t even ask him about that, he did it on his own. I hope I will be able to meet them again (and Scott Carlson of course) and say the least I could in such a case: THANK YOU GUYS for all those amazing 20 years you lasted!

Discography:

1990: In Memorium (Demo)
1991: Demo # 2 (Demo)
1991: Forest Of Equilibrium (1st album), re-released in 2009 as a dual-disc, containing ”Soul Sacrifice” EP as a bonus disc, plus a DVD with the making of the album and interviews with the original members and artist Dave Patchett
1992: Gods Of Grind (Split)
1992: Soul Sacrifice (EP)
1993: Twylight Songs (Single)
1993: Grim Luxuria (Single)
1993: Ride (Single)
1993: Midnight Mountain (Single)
1993: The Ethereal Mirror (2nd album), re-released in 2009 as a dual disc, containing ”Statik Majik” EP as a bonus disc, plus a DVD with the making of the album and interviews with the original members and artist Dave Patchett
1994: Statik Majik (EP)
1994: Cosmic Requiem (EP), re-release of ”Statik Majik” with a different cover and tracklisting
1995: The Carnival Bizarre (3rd album)
1996: Hopkins (The Witchfinder General) (EP)
1996: Supernatural Birth Machine (4th album)
1998: Caravan Beyond Redemption (5th album)
1999: Soul Sacrifice/Statik Majik (Compilation), re-release of the first two EP’s in one cd, long out of print
2000: In Memoriam (Compilation), re-release of the first demo with alternate title plus live bonus tracks
2001: Our God Has Landed (Video Tape/DVD), contains all promo video clips and live from ”Gods Of Grind” tour
2001: Gargoylian (Single), also appearing on Japanese edition of ”Endtyme”
2001: Endtyme (6th album)
2002: The VIIth Coming (7th album)
2004: The Serpent’s Gold (Compilation), CD 1:The Serpent’s Chest (Best Of), CD 2: The Serpent’s Treasure (Unreleased and rare tracks)
2005: The Garden Of Unearthly Delights (8th album)
2010: The Guessing Game (9th album)
2012: The last 10th album, no title yet

Members:

Lee Dorrian – Vocals (1989-today)
Garry ‘Gaz’ Jennings – Guitars (1989-today), Bass (1993-1994), Keyboars (1994-1996)
Brian Dixon – Drums (1994-today)
Scott Carlson – Bass 1995 (live only), 2011-…

Former Members:

Adam Lehan – Guitars (1989-1994)
Mark Griffiths – Bass (1989-1992)
Leo Smee – Bass (1994-2011)
Ben Mochrie – Drums (1990)
Mike Smail – Drums (1991)
Mark Ramsey Wharton – Drums (1992-1994), Keyboards (1992)

Live Members:

Victor Griffin – Guitars (1994)
Joe Hasselvander – Drums (1994)
Dave Hornyak – Drums (1995)
Max Edwards – Bass (2003-2004)

Aggelos “Redneck” Katsouras.

Judas Priest…almost 45 years of history coming from the legendary streets of Birmingham, just like Black Sabbath did, the “Metal Gods” are saying farewell to their millions of fans around the globe after half a century of a successful career. Judas Priest, in many ways, defined the genre of heavy metal along with others, having influenced thousands of bands throughout the years. This legend of heavy metal will, in a few years, go into the books of history but their legacy will remain with us to guide the new artists and define the future changes in all genres of heavy metal, just because, either a great fan or not, Judas Priest is a basic startup that you have to go through when you enter the world of heavy metal.

So let’s walk along with these legends and see how things were working out for them back in the beginning of this very long trip on their way to glory and fame and also during the most strange and peculiar aspects of their career…for the rest…put on one of their records and you will know what we’re talking about!

The Beginning

The band”s classic line-up consists of vocalist Rob Halford, guitarists K.K. Downing and Glenn Tipton, and bassist Ian Hill. However, their story began a little bit differently. Their original members were, back at the beginning, Al Atkins (vocals), K.K. Downing (guitars) and Ian Hill (bass) and their music also started out a little bit differently as the band, back in October of 1970, was strongly influenced by artists like Jimi Hendrix, The Who, Cream or The Yardbirds.

After some time of transfers and jamming along with other fellow musicians, the band came up with its first line up with Atkins, Downing, Hill and John Ellis (drums) somewhere around 1971. Their first gig took place on 16 March 1971 at St John’s Hall,Essington, S. Staffordshire…a legend was born…

With Downing as acting leader, the band moved away from their original blues influences to play hard rock and what later came to be defined as heavy metal. This quartet played around Birmingham and the surrounding areas with various drummers until 1974, sometimes opening for bands such as Budgie, Thin Lizzy, and Trapeze. Eventually, financial difficulties and problems with their management, Tony Iommi’s company, IMA, led to the departure of Alan Atkins and drummer Alan Moore in May 1973.

At the time, Ian Hill was dating a woman from the nearby town of Walsall who suggested her brother, Rob Halford, be considered as a singer. Halford joined the band, bringing drummer John Hinch from his previous band, Hiroshima. This line-up toured the UK, often supporting Budgie, and even headlining some shows in Norway and Germany.

Halford got his start in music by singing in his high school choir, often standing out as exceptional to the other students. Then in 1966, at age 15, Rob joined his first band, Thark, which included his classroom teacher on guitar! Next, he joined Abraxis before becoming an assistant lighting designer at the Grand Theatre in Wolverhampton:

“When I left school, I did a little bit of amateur dramatics. I worked in a theater as a lighting electrician, but it’s always been the draw of the stage. I was earning quite a good amount of money at the time for some one my age, so the decision to go into music professionally was a main one. My parents thought it was very silly, purely from an economic point of view…” - Rob Halford, Sounds, February 11, 1978

On April 1974, Judas Priest signed with Gull Records and Glenn Tipton joined the band, making Priest one of the very first hard rock bands having two lead guitarists. While touring Scandinavian, Priest received news that Gull Records wanted to sign them. On April 16, the band arrived in London to sign the contracts and thus begin their long-sought professional recording career… At this point in time, Judas Priest were still a four-piece, one-guitar band. But David Howells (owner of Gull Records) wanted something different than the standard rock quartet that was so common in the day; he more-or-less insisted that an additional instrument had to be added to the sound. And while the band members were intrigued with the idea, they also had their apprehensions:

“We thought it was just another mouth to feed and that was pretty tough at the time.” - K.K. Downing, HEAVY DUTY official biography, 1984

Howells proposed several ideas, including adding a horn player (!), but Ian Hill shares that after the band played a song for the label, it was clear that a second guitar would be the perfect fit. John Hinch recalls that David Howells and producer Rodger Bain came up with the idea for making the additional instrument a guitar, and Downing supported the decision, agreeing that a two-guitar approach would be best for the band as well: Roger Bain, strongly influenced the band to add a second guitar to the line up: Bain had been the staff producer at British label Vertigo Records, where he produced Black Sabbath’s first three albums on a shoestring budget and minimal equipment (he recorded Sabbath’s debut on a 4-track deck in only 16 hours!), and thus, more by accident than technical prowess, helped shape Sabbath’s heavy, evil sound – most notably, Tony Iommi’s raw guitar tone. But around the time that Gull Records signed Judas Priest, Vertigo Records had also signed another group called The Flying Hat Band, and were in the process of finishing their debut album.

Featuring Glenn Tipton on lead guitar and vocals, The Flying Hat Band evolved from the group Shave And Dry (where Glenn handled guitar and keyboard duties, as Glenn has actual training in piano). Shave And Dry briefly changed their name to Merlin before settling on The Flying Hat Band, and after several lineup changes, Glenn took over the lead vocal duties and made the band into a power trio. But after laying down some tracks for Vertigo Records, the project got shelved for sounding too similar to label mates Black Sabbath. Management and financial struggles soon brought about the band’s demise and Glenn was ready to make his next move…

So this is more or less the beginning of a legendary band that managed to make millions of people, its loyal fans around the world but for the shakes of a 100% full tribute, we feel it’s obligatory to make a brief history notice on what happened during the next years…

The Priests Through The Years:

The 70’s:
Their first record, “Rocka Rolla”, came out in 1974. That year they were signed to a small record label and Rocka Rolla had very poor sales. But things changed with the huge underground success of their second album, Sad Wings of Destiny. The album did so well that they received a record deal from Columbia Records in the US. Columbia released Judas Priest’s next album, Sin After Sin.

The 80’s:
Hell Bent For Leather, released in the UK with the title Killing Machine, was Judas Priest’s US breakthrough album. It gained the band a lot of success within the metal community. After touring with the likes of Kiss, they quickly headed back into the studio and released British Steel, which entered the UK chats at No. 3.
In 1982, Judas Priest released Screaming for Vengeance. The album entered the US charts at No. 17 and in time went platinum. In the next couple of years Judas Priest would release Defenders of the Faith and Turbo. These were considered by most critics as a more mainstream pop-metal because of the electronic effects and keyboards. By the late 80’s the band was loosing its British fan base but was still popular in the US.

The 90’s:
In 1990 the band released Painkiller. Even though the band was well known because of the trial, the popularity of heavy metal was waning and the record did not sell well. In 1993 Rob Halford left the band to form a new group, Fight. He was replaced by Tim Owens. Owens was previously fronting a Judas Priest tribute band. The band, back in action with a new singer, produced three albums with Owens.

The 00’s:
In 2003 the band announced the return of Rob Halford after a long of period of rumours around a possible reunion. Tim Owens, who was working on a project with Iced Earth, was let go upon Halford’s return.

Victim Of Changes:

The breakup with Rob Halford – Hiatus – The Ripper Years:

Seriously, what lead to the breakup of Judas Priest with Rob Halford, after their tour on “Painkiller” album in 1991? That days, surely there was bad chemistry among the members as Rob Halford was already starting a project along with drummer Scott Travis, in the street thrash area, named “Fight”. As he said, some years later, he felt the need to gain some personal space between him and the band as well as exploring new music territories. For three years the band went into hiatus…

In 1996, Tim Ripper Owens who had previously sang in a Judas Priest tribute band called British Steel, was hired as Judas Priest’s new singer. The band released two albums under that line up, “Jugulator”, which separated fans of Priest into those who wouldn’t imagine anyone else on vocals and those who had no issues with Tim Ripper Owens. “Jugulator” went on further, on “Painkiller’s” heavy concept but 2001 “Demolition” was didn’t gain respect from the fans, even if the album was pretty good.

Rumors say that…Owens’ move from fan and weekend tribute band singer to frontman for the actual band was the inspiration for the film Rock Star. Because the film’s content bore only a tangential resemblance to Owens’s actual history with the band, Judas Priest later moved to disassociate themselves from the film.

Judas Priest On Court

In the summer of 1990, the band was involved in a civil action that alleged they were responsible for the self-inflicted gunshot wounds in 1985 of 20-year-old James Vance and 18-year-old Raymond Belknap in Sparks, Nevada, USA. On 23 December 1985, Vance and Belknap, after hours of drinking beer, smoking marijuana and allegedly listening to Judas Priest music, went to a playground at a church in Sparks with a 12-gauge shotgun to end their lives. Belknap was the first to place the shotgun under his chin. He died instantly after pulling the trigger. Vance was the next to follow suit but only blew away the lower half of his face. This was possibly because the weapon was slippery with blood.

The men’s parents and their legal team alleged that a subliminal message of “do it” had been included in the Judas Priest song “Better By You, Better Than Me” from the Stained Classalbum (actually a cover of a Spooky Tooth number). They alleged the command in the song triggered the suicide attempt. The trial lasted from 16 July to 24 August 1990, when thesuit was dismissed. One of the defense witnesses, Dr. Timothy E. Moore, wrote an article for Skeptical Inquirer chronicling the trial.

The trial was covered in the 1991 documentary Dream Deceivers: The Story Behind James Vance Vs. Judas Priest. In the documentary, Halford commented that if they wanted to insert subliminal commands in their music, killing their fans would be counterproductive and they would prefer to insert the command “Buy more of our records.” Regarding the plaintiff’s assertions that the statement “do it” was a command to commit suicide, Halford pointed out “do it” had no direct message.

Rob Halford At Metalpaths.com

Rob Halford talks about the “Painkiller” album in an interview with Metalpaths:

“I think the feeling that we had in terms of what we wanted to do next, to do something, not exactly extreme, but to have a record that had a tremendous amount of energy on every track, that kind of started to be “Painkiller”, the title track, and really went through the whole set of dynamics. Even “Touch of Evil”, which is just the way that metal records are made, there’s always a time when, at least for us in Priest, you take a bit of a breather and then you take off again. So, I think there was an intent to make that kind of record with that type of excitement level, which I believe we succeeded in.”

Read the whole interview here.

Did You Know That…

* “Kenneth Downing Jr. is my real name. A girl in Denmark couldn’t pronounce it,(during a run in Norway and Denmark in the 70s) so she called me ‘K.K.’ and it stuck.” - K.K. Downing, Rockline magazine, 1984

* Judas Priest have sold over 50 million albums worldwide.

* They were named the 78th greatest artist of all time by VH1 in 2010 and 2nd Greatest Metal Band by MTV (Black Sabbath).

* The band got its name from the Bob Dylan song “The Ballad of Frankie Lee and Judas Priest”, according to original vocalist Al Atkins.

Studio albums:

Rocka Rolla (1974)
Sad Wings of Destiny (1976)
Sin After Sin (1977)
Stained Class (1978)
Killing Machine / Hell Bent for Leather (1979)
British Steel (1980)
Point of Entry (1981)
Screaming for Vengeance (1982)
Defenders of the Faith (1984)
Turbo (1986)
Ram It Down (1988)
Painkiller (1990)
Jugulator (1997)
Demolition (2001)
Angel of Retribution (2005)
Nostradamus (2008)

Judas Priest, forever in our hearts, hail to The Metal Gods!

Chris “Wild Child” Zarkadakis.

Under The Lights Where We Stand Tall, Nobody Touches Us At All

It was the 24th of July in 1990, when music history as we know it right now, changed for good. It was the time when the former glam metal band called Pantera, decided to unleash the album that made them one of the most respected acts of all times. And it is not only the change of their style that brought surprise, but also the feeling that something so fresh emerged from Texas to bring the musical revolution, regarding not only heavy metal, but music in general. I can really only imagine the faces of all those who were listening to this for the first time. They must have felt as if a massive vehicle crushed them to the ground but didn’t kill them, just leave them unable to do or say anything understandable.

What the fuck was that anyway? How did we come to this? Who was that muscled singer with the mohican look and the certainty along with iron will to soon become the epitome of a monstrous frontman? Why were the riffs of the goat-bearded guitarist so heavy and whistling? How could he produce such a gigantic sound? And this rhythm section… This skinny bass player with his hair always covering his face because of the constant headbanging, accompanied by the unbelievable foot technique of the chumpy drummer, felt like they could move everything still to any direction. This quartet was destined to become the driving force of all heavy metal for the next 14 years, just because they could, just because they were born ready for this, and of course, because they had the skills and guts to prove it through the years.

Showdown, Shootout, Spread Fear, Within, Without

Yes, Pantera had released four albums before ”Cowboys From Hell”. But for the band and their fans, this will always be their ‘debut’ album. The birth of something that inspired future generations, especially in attitude. Because Pantera were something more than music, and this started showing from that point and on. Be it ignorance of danger or just the fact that they got pissed off with the whole music industry back then, they made this album first for themselves and then for the fans. Because they always believed in the bond between artist and fans. Since their new direction was something that satisfied them, none could get in their way. The big question ”Who the hell are these people?” that rose when the title track’s video clip was constantly played on MTV, just made things easier for them. The course was already set.

Their rumour was constantly growing, the highest point was their live appearances, where everything you listen to the album, was becoming even heavier and larger in form while watching them from close distance. The frenzy behind Pantera took gargantuan size and soon the whole world was at their feet. The highlights of all this was that they were included in the slot of Judas Priest ”Painkiller” tour, alongside Canadian metal masters Annihilator. And believe it or not, few were the times that they didn’t steal all attraction, even from the metal gods Judas Priest. The fact that Rob Halford tried to produce something like Pantera with his project Fight, after leaving Priest, can’t be hidden. The rumour that he was seeing Philip Anselmo more as a ”friend”, raised even more the group’s status.

We’re Taking Over This Town

Let’s stay on the album itself, as this is the main reason of this article. First of all, praises must be given to the producer Terry Date who unofficially, could be called the fifth member of the band. He managed to give an amazing sound to the album, by also taking 100% of each member’s skills and talent. This is clearly put to the album, which was recorded at The Sound Lab, located in Irving of Texas. With its duration being more than 57 minutes long, the big bet was ready to roll the ears of unsuspected listeners. The guitar sound of Diamond Darrell (before becoming Dimebag) was something pouring out of the glory days of Metallica, but even more twisted and heavy. If you put a little Exhorder groove metal dose, the recipe of world domination is ready and all you have to do is just sit, wait and then enjoy.

But the other wild card of the album was undoubtedly Philip Anselmo. Furious, neurotic, horny as hell and above all, aware of what the band was doing, he spit every lyric of the album with profound convincing ways. His presence on the scene during the tour is still commented after two decades. How couldn’t he be acknowledged for that, since all he was representing, alongside the other three companions, was a mass of relentless energy, driven by a lunatic feeling of giving blood, guts and sweat every night in every place they could play. Not bad for a former boxer who joined the band in the previous album called ”Power Metal”. He is considered as the main responsible of the group’s musical change. Not that it matters much, or if we ever really know. But just in case, let’s mention it to be left out of unnecessary doubts.

You See Us Comin’ And You All Together Run For Cover

Combining the energy of thrash metal and with a very bright look to the future, ”Cowboys From Hell” stands out until today as the landmark of ’90s metal. It is not the best Pantera album (that is ”Vulgar Display Of Power”). It is not the heaviest Pantera album (that is ”Far Beyond Driven). It is not the most angry and brutal Pantera album (that is ”The Great Southern Trendkill). And it is not the most mature Pantera album (that is ”Reinventing The Steel”). But it sure was, is and will always be the most important. Not only because through the years it proved to be the salvation of all heavy metal and because Pantera brought many fans to extreme music. But mainly because everyone and everything inspired by the band, owe a big thanks to this release. In terms of music, feeling and above all: ATTITUDE!

”Cowboys From Hell” has reached number 27 on Top Heatseekers in 1992. It must have overcome 2 million record sales by far, it has been already certified double platinum, it has been voted among the best and most influential albums of all time. It is the album that made them play in Monsters Of Rock in Moscow in a gigantic crowd of more than half a million people. It is the album that created the CFH acronym, which Anselmo has tattoed in his head and many fans have marked it on their bodies since then. It is the album that saw three singles becoming large, the title track, ”Cemetary Gates” and ”Psycho Holiday”. It is the album that started the revolution and it is the album that no matter the taste in music, everyone respects and has something to say about. What else could you be asking for?

Track By Track:

01. Cowboys From Hell
The title track of the album is nothing less than a statement on behalf of the band. It’s like saying ”we’re here and we came to stay, so everyone and everything in our way…back off!”. The lyrics show nothing more than self esteem and the feeling that those kids knew what they created. Yes, it is also a reference to their Texas origin, home of all brave cowboys of the past. And it also could be the statement that they came to raise hell. You know what? They certainly did. The initial whistle of the main riff always brings yells to every place it’s played, and despite the fact Pantera have many great songs and much better than this one, it will always be a song you can’t help dealing with.

02. Primal Concrete Sledge
Rough and raw. Short and full of hate. Violent and without any sort of emotion. Two minutes of riffs that could make a whole discography of a new born group. The song that Dimebag rapes his six string without condom and the guitar not only doesn’t complain, but also craves for more. Anselmo is unleashed and the vocal melody follows the diverse riffing and the insane drum playing. The break after the second verse and before the solo is orgasm itself. The Aeolian winds are free and blessed be the ones left on the wake of the tide it creates.

03. Psycho Holiday
One of my personal favorites and maybe the best riff on the whole album. The initial sound is not gunfire but Vinnie Paul torturing the skins of his drumset and hitting as hard as he can. Anselmo shows that he can not only be aggressive but also have some high pitched moments full of quality. It was picked as one of the album’s singles and it proved to be a live classic back then. Pure energy and sonic pandemonium. The band at its best. Psycho you said? Does it really matter? Not if you put your head down and do what you HAVE to. Close your eyes and the riff will make things easier.

04. Heresy
This is the answer to all critics and haters that Pantera are not a group whose new direction’s origins lie on thrash metal. Tell me how many bands could write such a song and then we can sit back and relax about the rest. The song grows as it flows, relentless riffing by Darrell, continual changes from fast to slow and slow to fast. The part after the solo wakes up the dead and makes them conquer the living. Honesty, born in me… The lyric that sums up what Pantera represented back then. Because what they did was honesty itself. It takes guts to be different. Can you take it?

05. Cemetary Gates
A ballad? Not quite! This is the emotional song the Pantera way. Probably the favourite track of the album for most fans. A seven minute opus starting with a brilliant acoustic intro and Anselmo providing a mature performance. The outburst after the initial shock brings one of the most trademarked Pantera riffs. That whistle and lead haunts many fans until today. I guess that everyone that listens to this for the first time, will remember it for the rest of his life. The screams of Anselmo at the end bring chills upon your spine. Covered even by Dream Theater, one of the best songs in history of music.

06. Domination
Truth be told, Pantera dominated planet Earth with such an ease that many people would be jealous about (and still are until today). After Vinnie giving the signal at the beginning, Darrell opens the box of riffs and puts a ton of them on this one. Breaks, speed and above all: THE riff after the middle of the song. The part that the whole band played while jumping to the height of God and the fans were unable to hold the fury inside them and made them want to kill the person next to them. Even if it was a friend of theirs. Also covered by many bands, including also Apocalyptica. Who said that cello players aren’t metal fans enough?

07. Shattered
This is the song where Anselmo takes over everything. Hellish playing by the rest but Philip owns the song from the very beginning. Convincing in every lyric, with some of the best lyrics he ever wrote, he is the driving force to this one. The shortest song after ”Primal Concrete Sledge” but also very full of quality. It used to be also one of the live classics of the old era with stagedives following one another. A great example of the changes that Pantera brought to the whole scene. Dig it anytime, it still sounds like it was released… tomorrow!

08. Clash With Reality
The meaning of groove metal is hidden behind the notes of this song. They have been accused many times of not being ‘metal’ enough. Yeah right, this is a song for rappers and emo fans after all, isn’t it? Let’s be serious for a moment and just witness the power of this one. Slow but also huge in form, it showcases the fact that Dimebag still is one of the best guitar players of all time and mainly, the fact that he is the responsible for the ressurection and renewal of all metal scene on the ’90s decade.

09. Medicine Man
Awkward but still crushing, ”Medicine Man” is also another groovy one that slows the tempo of the album as much as it can. After the assault of all previous tracks, this one is put in order to make the listener relax (!!!???) a while, before untying his ponytail for the hundredth time and making his neck seem more like a windmill than a part of his body. Again Anselmo is the leading figure in this one, spitting venom in each opening of his mouth. Add some screams from outer space and you’ve got what you’ve been asking for.

10. Message In Blood
For sure the strangest song in the album. That doesn’t mean it doesn’t stand out equal to the rest eleven tracks. Here the rhythm section of Vinnie Paul and Rex Brown does miracles, the sound is so clear and somewhere here is where you understand the width of Terry Date’s production. Pantera sound like a Swiss clock that doesn’t lack the simpliest second. Punctual and ready for everything, they make you proud as their fan as the album is about to end.

11. The Sleep
Starting also with an acoustic intro, just as ”Cemetary Gates” does, it is the calm before the storm at the end of this album. The huge riff that follows creeps like a rattle in the desert, ready anytime to stalk his victims and make them preys instead of hunters. Anselmo and Dimebag in perfect culmination, leaving space for each other where needed. An amazing solo takes place, making us wonder where this guy came from and also, why he is not still with us and he left so unfairly.

12. The Art Of Shredding
Last but not least, as Americans say, this track is the ideal to close the album with its bass intro and the doublebass of Vinnie Paul showing that if you have skills apart from talent, everything can happen. A fast one after some mid tempos, it comes right at the point where someone not familiar with the band, could get a little bored. Anselmo explains how his presence shreds everything in his way and Pantera’s world domination is reality after that. Not bad for a quartet of ex-glam metallers, right?

Dedicated in memory of Darrell Lance Abott, also known as Dimebag or Diamond Darrell (August 20, 1966 – December 8, 2004). You are so sorely missed!

Aggelos “Redneck” Katsouras.

“I Feel Sad When Someone So Talented Dies. Earth Needs Those People More Than Heaven Does.” Georg  Christoph Lichtenberg

With these words I would like to start this small tribute for one of the most respectful and biggest musicians:  Ronnie James Dio. He is the one who contributed so much to rock and metal music scene, opening new horizons with his mystical lyrics, going far away from the stereotypes of the music world. Maybe his performance on stage wasn’t something extraordinary, but he was sharing his feelings with the crowd, he was giving a magic pulse that everyone could notice. He was a great man with an extremely big education in music and he was trying to give some of this knowledge to the others.

But unfortunately some of them were ungrateful (Vivan Cambell). Ronnie , didn’t know the meaning of the words ”Rock Star” . He never wanted fame and glory. He just loved so much writing lyrics and singing in concerts. Even in his last moments he was worried about the tour cancelation.  He was 67 years old. A difficult age and the time was running against him. But not even the old age or the health problems manage to spoil his voice. The song “Hair n Aid” he wrote in 80s reminds us that he was just a simple man, like everybody.

The Heaven (the begining)
His real name was Ronald James Padavona. Afterwards , he changed it into DIO (it means God in Italian), influenced by Italian Mafia. Dio’s life story starts at New York City. In his early years was a bass-player in a band called “The Vegas Kings”. Next stop was the band “Electric Elves” . Later they changed their name to “Elf”. They had some recognition and they started as a support band to Deep Purple’s gigs. Ritchie Blackmore , guitarist of Deep Purple loved Dio’s vocals and he made a proposition to him, to create a new band . Dio accepted and with some members of Elf started a new group known as Rainbow!

Rainbow (1975-1979)
Ritchie Blackmore’s Rainbow was the first full length album for the band. A true masterpiece of that period of time. Smashing riffs,fast music and special vocals were enough to understand that there was created a strong connection and co-operation between Dio and Blackmore.  We can see that to their next albums. Songs like “Stargazer, Kill The King, Temple Of The King, Gates Of Babylon, Man On The Silver Mountain , Catch The Rainbow and Long Live Rock n Roll ” are from the greatest of Rainbow. Atmospheric music, mystical lyrics, weird sounds and instruments are some of the reasons  that Rainbow achieved to create  a special style of music which was radical for that period.  Unfortunately , later on, Dio left the band and in his replacement was Graham Bonnet.

Rainbow :
•    Ritchie Blackmore’s Rainbow (1975)
•    Rising (1976)
•    On Stage (1977)
•    Long Live Rock n Roll (1978)

Black Sabbath (1979-1982)
Ozzy Osbourne left the band, so the founder and guitarist of Black Sabbath, Tonny Iommy was looking for the right replacement. Dio accepted the proposition without hesitation. The year that followed was amazing for the band. “Heaven and Hell” is one of the most important album in metal . The sales of it and the correspondence of the fans were so high as it could get. The next album “Mob Rules” was quite well but not as awesome as the previous one. Highlights from these two albums are the songs : “Heaven and Hell, Neon Knights, Children of the Sea, Die Young, The Sign of the Southern Cross and Mob Rules”. A part of Black Sabbath’s fans didn’t like this whole new music turn . So , later on , Dio left the band and Ozzy came back to his old position.

Black Sabbath:
•    Heaven and Hell (1979)
•    Mob Rules (1982)

Dio (1982-1991)
It’s time for Dio to create his own band with more metallic sounds and strong riffs. It was a whole new turn from Rock to Metal. The result was more than great. Albums like “Holy Diver, Dream Evil, Lock Up The Wolves and The Last In Line” are considered as Classics in Metal. At this point, Dio was facing charges against him that he worships Satan, cause of the front picture of Holy Diver’s album. He remarkably said that he is not a man with belief in God. These words provoked many people against him but nothing happened to his career and his fans were pleased. The only bad thing is that, there were a lot of changes to the line up on Dio’s band. But it seemed like his inspiration was unstoppable.

Dio:
•    Holy Diver (1983)
•    The Last In Line (1984)
•    Sacred Heart (1985)
•    Dream Evil (1987)
•    Lock Up The Wolves (1990)

Black Sabbath (1991-1992)

A new album for Black Sabbath after Dio’s return is the “Dehumanizer”, which was a big failure for the band . Even if the line up was the same as it was on “Mob Rules”, the music style is way different, darkest and more depressing than any other Sabbath’s album. The only songs that are quite nice are “Computer God and After All”. Unfortunately, on the early 90s we can find out that a huge decline for Dio is approaching.

Black Sabbath:
•    Dehumanizer (1992)

Dio (1993-2006)
After the failure in the early 90s, Dio re-created his band and released two albums: Strange Highways (1994) and Killing Machines (1996). Both of them were the worst albums that the band ever created with the fans being continuously disappointed. So, the new millennium started and Dio’s band made an effort to come back to the good old times. With the albums : Magical (2000) , Killing The Dragon (2002) and Master Of The Moon (2004) Dio managed to achieve a dynamic come-back !

Dio:
•    Strange Highways (1994)
•    Killing Machines (1996)
•    Magical (2000)
•    Killing The Dragon (2002)
•    Master of the Moon (2004)

Heaven and Hell (2006-2010)
This is the third and the last come back of Dio to Black Sabbath.  The band chanched its name to “Heaven and Hell” , a group-decision in order to show that this was nothing to do with the old Black Sabbath band. Heaven and Hell was a whole new project. They wrote three new songs in 2006 and in 2010 the homonymous album “Heaven and Hell” made a great success. Sales came up to 30,000 on the first week and the album is in top 10 of  US Billboard 200 chart. It seamed that they were back for real…

Heaven and Hell
•    Heaven and Hell (2010)

Hell (The End)
16 of May 2010. Ronnie James Dio had stomach cancer for over a year. Everyone believed and hoped that he could defeat it.  But, his family gave us a simple announcement that Dio left this world. People all over the world were sad with these news.

Even some tv channels that they have nothing to do with Rock and Metal Scene, made long reports about his death. The music world cries for the loss of this Legend called Dio, a rear and great simple man with values to his life, that very few have.

Ronnie you will always be the top of our music pantheon.

You are a rainbow in the dark…

Ronnie James Dio:
•    Rainbow (1975-1979)
•    Black Sabbath (1979-1982)
•    Dio (1982-1991)
•    Black Sabbath (2006)
•    Heaven and Hell (2006-2010)

Tribute by: Manos Spanos.
Translation and editing by: Efi Burton.

Since the 60’s there have been numerous bands that have written history and a few that are worth something more than just respect from the rock and heavy metal society. Black Sabbath, Led Zeppelin, Deep Purple are some of the examples. However, also few were the bands that through many years of touring and recording have managed to stay together through thick and thin and keep on rocking until today putting together in halls and stadiums fans of three different generations. Well, what can we say about today’s Black Sabbath or today’s Led Zeppelin for example?

Scorpions, remain until today one of the, even fewer, bands that have managed to perform all the things that I just mentioned. And they’ve been doing so for almost 40 years. Since 1972, when their first record called “Lonesome Crow” came out. Maybe nowadays Germany is considered to be a country that raised a lot of great bands such as Helloween, Accept, Blind Guardian or even Rammstein, however, back then, things weren’t so simple. The English language was a high barrier for an unknown German band and today the rest of the band remember Klaus Meine (vocals) entering the recording studio with a dictionary in hand.

To get things right on track, it all began in 1965, in Hannover, West Germany, when Rudolf Schenker launched the band completing its first known formation in 1969 along with his brother Michael Schenker, both in guitars, and Klaus Meine in vocals. Bass and drums were held by Lothar Heimberg and Wolfgang Dziony. Uli Jon Roth joined the band later on, in 1973 as Michael Schenker accepted the offer from the British band UFO during their tour for Lonesome Crow, a record that sounded more psychedelic than usual, following the trends of the time then. Uli Roth had replaced M. Schenker temporarily during the tour and in 1973 Scorpions were formed to record “Fly To The Rainbow” with Klaus Meine, R. Schenker, U.J. Roth, Achim Kirschning (keyboards) and Jürgen Rosenthal (drums ). J. Rosenthal was later on the drummer for the well known, also German, Eloy.

Well, that’s how it all began, so let’s see some of Scorpions’ highlights during their great career. I’m going to divide their career in eras as they do not only represent time or line-up changes, but also musical directions.

First Era

1975 – In Trance

In “Fly To The Rainbow” the opener “Speedy’s Coming” (one of my personal rock favorites ever) summarizes the band’s decision to take their music to a new level. Well, on this occasion, their expectations are fulfilled in this masterpiece. From the exterior, the always provocative mood of Scorpions is already seen.

The two first dynamites, “Dark Lady” and “In Trance” drive us crazy and the rest of the album is already written in history.

Line up: Klaus Meine (Vocals), Rudolf Schenker (Guitars), Uli Jon Roth (Guitars), Rudy, Lenners (Drums), Francis Buchholz (Bass)

1977 – Taken By Force

This is the album that brings together the old school rock fans of that time and the heavy metal youth of that age. A bridge over two generations of hard music representing, in general, the changes and the evolution to heavy metal that hard rock was coming through when this record came out. Klaus Meine and Uli Jon Roth are now an example and will always remain one since this colossal record. How can someone describe the shivering in “He’s A Woman She’s A Man”, “We’ll Burn The Sky”, “The Sail Of Sharon”. It’s also an album that was the end for Uli Jon Roth and the pre beginning of their next era, the commercial one.

Line up: Klaus Meine (Vocals), Rudolf Schenker (Guitars), Uli Jon Roth (Guitars), Herman, Barebell (Drums), Francis Buchholz (Bass)

The Commercial Big Bang

Soon after “Taken By Force”, Uli Jon Roth and Rudolf Schenker are replaced by Mathias Jabs and Michael Schenker being a guest in the next album having left UFO due to his problems of alcoholism. Scorpions manage to stand their grounds and this era will be the one that gained them appreciation from fans of all music genres.

1979 – Lovedrive

After these massive line up change of Uli Jon Roth, someone can wonder if a band is able to make such a dynamic comeback with a record capable of competing the two mentioned masterpieces. It’s a well known fact that UJ Roth was and still is a great composer. Well, Scorpions managed to do so with Lovedrive making a great commercial success. Containing such fan favorites as “Loving You Sunday Morning”, “Always Somewhere”, “Holiday” and the instrumental “Coast to Coast”, the well known ‘Scorpions formula’ of hard rock songs mixed with melodic ballads was firmly cemented and the band raised a new generation of rock fans with this one.

Line up: Klaus Meine (Vocals), Rudolf Schenker (Guitars), Mathias Jabs (Guitars), Herman Barebell (Drums), Francis Buchholz (Bass)

1984 – Love At First Sting

Germany is now a fortress of hard rock and heavy metal and soon will produce even more bands. Scorpions are not just another hard rock group but rock superstars. After Animal Magnetism and Blackout of 1980 and 1982, which brought even more commercial success to the band, Scorpions make another colossal record. Another provocative cover and some new all time classic rock dynamites. “Bad Boys Running Wild”, “Rock You Like A Hurricane”, “Big City Nights” and “Still Loving You” are only some of them. Scorpions are double platinum in the USA, something very difficult for a European band at the time and are now on MTV.

1985 – World Wide Live

This vinyl record still is a jewel in my living room. It was impossible for me to exclude this live record from Scorpions’ most important moments of their career. Maybe this is one of the best live albums ever both personal and in general. Recorded over a year-long world tour and released at the height of their popularity, the album was another success for the band, peaking at #14 in the charts in the US and at #18 in the UK. In general, this album is like a photograph catching the band during their best time ever presenting songs that will stand the test of time for the years to go.

Line up: Klaus Meine (Vocals), Rudolf Schenker (Guitars), Mathias Jabs (Guitars), Herman Barebell (Drums), Francis Buchholz (Bass)

The End Of An Era

It’s well proven that on World Wide Live Scorpions had reached the peak of their success. From 1988 to 1993, Scorpions release three albums Savage Amusement, Crazy World and Face The Heat. The first one follows the paths of Def Leppard’s success, it sold well but didn’t gain the same critical acclaim as the older albums. Crazy World, although harder brought mediocre success to the band but contained one of the best hard rock songs ever written, “Wind Of Change” which comments the social and political changes that occurred in the beginning of the last decade of the 20th century.

Face The Heat of 1993 finds Scorpions releasing one of their heaviest written records containing songs like “Alien Nation” which happens to be one of my favorites from this band. Although productive, success for Scorpions was not the same anymore as the music world had changes with the rise of Seattle scene with grunge setting aside hard rock for many years to come. In 1995 the band releases Live Bites a live album although with better sound than World Wide Live, but as successful as the second one. Their next studio release takes place in 1996 with Pure Instinct which contains many ballads contrary to “Face The Heat”. In 1999, Scorpions make maybe the worst album of their long and successful career Eye II Eye which has nothing to do with the band’s history as it contains music styles different to Scorpions’ style through all these years.

The Later Days and Announcement of Retirement

In 2004 the Scorpio returns with Unbreakable, a dynamic comeback after 5 years. The rock scene has gone heavy for many years now and Scorpions follow the trend of the time with a very good record. It was their first studio release after Moment Of Glory in 2000 and Live Acoustica in 2001.

2007 is the next stop for Scorpions as they release Humanity Hour I entering the Billboard Charts at #63. It was an album that was characterized as “concept” something that Klaus Meine refused to confirm saying that the band wanted to stop singing about boys chasing girls.

In December 2009 the band realized that it was time for them to step down and retire after the tour for their last record, “Sting In The Tail”.

So, let’s see some highlights during their long year career;

• “Lovedrive” reaches #55 in US charts in 1979 and the cover of the album is voted as “Best Album Sleeve” for 1979 by the readers of Playboy Magazine.

• During their career Scorpions cooperated with many great musicians, in 1981 Don Dokken is brought in to help with the recording of Scorpions’ Blackout.

• In 1985 World Wide Live reaches #14 in the charts in the US and at #18 in the UK.

• On the Savage Amusement tour in 1988, Scorpions became only the second Western group to play in the Soviet Union (the first being Uriah Heep in December, 1987), with a performance in Leningrad. The following year the band returned to perform at the Moscow Music Peace Festival.

• On July 21, 1990 and some months since the fall of the Wall in Berlin, Roger Waters performs in a front of a massive crowd one of Pink Floyd’s and music’s greatest albums ever written, “The Wall”. Scorpions hit the stage with “In The Flesh” and end the concert along with Roger Waters.

Some say that they should have retired a long time ago, others that it was the right time and some others that the band had even more to give. Maybe this question will remain unanswered but one thing is for sure; Scorpions gave us so many during the 40 years of their career, joy, excitement and tears. They also did something that many great bands didn’t manage, they brought together fans of different audiences and different music genres with their music which was solid and pure hard rock.

Last, they managed to do everything, they were underground, heavy, commercial and sorted out top quality staff. Whether we like it or not, whether a huge fan or small, Scorpions are legends and their music is our legacy.

Chris “Wild Child” Zarkadakis.

Thank God, we’ve done it! Although we are late a little bit, the big tribute to the 00’s decade that we have promised is finally on air and we hope that you are gonna like it. What follows is the best 50 albums from 2000 to 2009 that set off from Metalpaths’ editors. To the next part of the tribute you’ll find out an examination of 00’s year by year with the most important facts that happened around metal’s world. Last but not least, seven musicians of different metal bands leave their comments for the 00’s decade.  Observe…

The tribute is kindly sponsored by:

——————————————————————————————————————————————-
00’s Tribute Part 2: Year By Year & Musician’s Corner >

Some of the names given at times to this band…Let see what hides beyond their name and the credits given to them…

Formed back in 1988 at Halifax/ West Yorkshire, England by Gregory Mackintosh (lead guitars), Aaron Aedy (rhythm guitars), Mathew Archer (drums) and Nick Holmes (bass/vocals). After just a few rehearsals, they realized Nick should concentrate only on vocals and Steven Edmondson joined them to handle the bass, without even knowing if he could play at all. It was the time of a weird music genre evolution. Many bands, that tried to pull the limits of extreme music, combined fast speed tempo songs with extreme guitar themes and grunting vocals-it was later defined as grind death metal- and Paradise Lost stated out as one band of this genre.

After a few thoughts though, and being influenced both by the fast extreme music (Kreator, Celtic Frost, Morbid Angel, Death, Autopsy)  and the slow extreme music music (with bands such as Candlemass, Trouble etc.) that had been going on at that time, they started to write their songs using slow tempos but with the intensity of death metal guitar themes and grunting vocals. It was really something never heard before at that time.

Trying to achieve recognition and a record deal, they record two demo tapes “Paradise Lost” demo and “Frozen Illusion” demo and despite the really bad sound and performance recorded  at both demos, the songs convinced some people and the band finally made a record deal with  Peaceville Records.

Recorded at The Academy and released by Peaceville / Vile Music in 1990 “Lost Paradise” was probably the first record of doom death metal. Slow tempos , grunting vocals, a few fast death metal breaks, obscure lyrics and muddy “Celtic Frost” mood, all mixed up to show the path to many bands later on. Sounding rather bad, was something the band even now makes fun of.

Lost Paradise:

The big word was not yet told though… and just one year later, the band decided to take a big step. With full confidence, and their urge to give the audience something that hadn’t been heard before, Paradise Lost change their composition style and eventually their music, into a rather simpler style than the Doom Death metal of “Lost Paradise” , but also as innovating as their debute.

Recorded once again at The Academy studio and released in 1991 by Peaceville/ Vile Music “Gothic” was about to shake all current waves in extreme music, with its sound being so original and far ahead of its time…

Gothic:

Keeping their sound at a mid tempo standard, Paradise Lost use on “Gothic” their roots of death metal attitude, enriched with the exceptional use of string arrangements, performed by the “The Raptured Symphony Orchestra” and some female vocals at several points in the album, performed by Sarah Marrion. And it was not only these, that made the album unique and innovative, it was also the fact that Gregory Mackintosh -as being the main music composer- let himself loose, to show his other main influences, from bands of the gothic movement of ‘80s. Bands like Sisters of mercy, Fields of the Nephilim, Bauhaus etc. were filtered through the death metal riffing, the grunting vocals/ lyrics and the low tuned distorted guitars and mixed down to an album, refreshing the sound of metal music in general.

Die-hard death metal fans, would put it to fire thus guitar melodies started to appear, melodic guitar solos and bridges also appeared. Finally, for the first time some deep down “gothic” style vocals appeared on a metal album. Paradise Lost really pulled the limits of extreme music on this release. A thing that afterwards was to happen many times, and almost at their every release that followed… “Gothic” was though, the most monumental of all their innovations, because it opened the minds and the boarders for many musicians and bands. It can be easily said that “Gothic” really gave birth to what people refer to as “gothic metal genre” although the recognition came years later…

Having released two different albums the band gained attention from big record labels and it was time for them to move on and sign a contract with Music For Nations. It is the year 1992 and “Shades of God” sees the light of day. Recorded at Longhome studios and released by Music For Nations.

Shades Of God:

“Shades Of God“ introduces yet another face of Paradise Lost. The mid tempos are here once again, but the song-writing approach has changed once again. A more sharp heavy doom metal style is introduced. Sabbath influenced riffs filtered through the prism of the “Gothic” album. The death metal tag almost disappears from the songs, and that’s mostly because, “Shades Of God” is the first album, Nick Holmes abandons death metal grunts and screams and starts using a somehow aggressive clean vocal approach. Guitar solos and the sound in general is well improved. It’s the first record of Paradise Lost, with a good sound quality, as long as the mix is considered.

With “Shades Of God”, Paradise Lost started gaining press attention and with the help of two videos, that were made for songs “Pity the Sadness” and the all time classic “As I Die”, the band got access to mainstream audience, and so their name was getting bigger day by day. Everything, once again, was changed and so did the previous logo, which does not appear on the cover work. Now all was set up for the first “big” record, which is no other than “Icon”, that comes next and opens a new era for the band…

Icon:

So here they are once again. It’s 1993 and Paradise Lost release their fourth album “Icon”.. The first record with the new -classic- logo and the first with the “crown of thorns” scheme “Icon” really came to shake the seas of metal music industry…

Recorded at Jacobs Studios, Surrey with Simon Efemey as a producer, this album was bound to succeed. The style of the songs changes once more. Easy listening refrains, heavy riffs, strong orchestration and intense melodies construct a perfect background of pessimism which with the help of  Holmes’ lyrics give flesh and bone to a new music genre that was about to evolve. Gothic Metal was born with this album here and if not so, you can find it here at it’s best…

Mid tempo in its entirety, the album has some of  Paradise Lost’ s highlight songs, that guided and showed the way, to many bands that followed, on how Gothic Metal should sound like. ”Embers Fire”, “True Belief”, “Widow”, “Dying Freedom”, “Weeping Words” and “Christendom” are here in this album.

The sound of the album also contributes to the outcome and the feeling the compositions themselves. The production and the sound fits so much the songs and the collaboration with Simon Efemey surely gave Paradise Lost their sound and recognition they deserved. Having three new videos coming out for this album, for songs “Embers Fire”, ”Widow”, “True Belief”, and with even more presence to the music television Paradise Lost really start to stand out as “The New Metallica”, as the universal press of that time called them way back then. More was yet to come, but this album  established an identity and recognition, which surely introduced us to the Paradise Lost sound. This sound went on, for albums that followed. Went out and returned and so it did to their next one.. their magnum opus “Draconian Times”.

Draconian Times:

Two years after the release of “Icon”, their strongest record till then, Paradise Lost release “draconian times” on June 12, 1995. Recorded at the Great Linford Manor and Ridge Farm Studios, England. The band makes its strongest effort to date and everything here really reaches pick. With their first line up change after years drummer Matt Archer is replaced by Lee Morris and the band rolls as a big hit single production machine. It’s the first time, and probably the last, that the credits of the songwriting go out for everyone in the band and not only Mackintosh/Holmes.

Every song on this record could be described more than everlasting. There are few records that once you start listening to you can’t stop them in the middle. One of these records is “draconian times”. A record full of great songs, great atmosphere, proper mood and proper lyrics that not only exist as lines, but contribute to music as well. “Draconian times” wouldn’t have that sense, if not for the lyrics as much as for the perfect pieces of music, that combined gave this awesome outcome.

Another helping hand given by the artwork that was used perfectly matching the mood and the atmosphere of the songs. As for the sound here Paradise Lost gave us another point of how important is for a record to sound clear and with good production  in order to achieve its goal. Talking about “draconian times” one can say that it’s amongst the ten strongest and most influential releases of the ‘90s…Truly a masterpiece and their ultimate release.

One Second:

Following a quite same path on “Icon” and “draconian times” and reaching pick on touring and sales it was time for rearrangements and changes. On  July 14, 1997 “One Second” is on stores. Considered as the follow up of their previous successful and monumental releases, Paradise Lost decide to change directions and introduce new elements to their music. Loops and electronic sounds are taking a vast place in the overall sound of the band. Also, on this record, we can hear Nick Holmes actually singing with his deep voice, in melodic paths exclusively. No growls not even his characteristic Nick Holmes vocal anger. Also, not guitar oriented songs, simple drum patterns and quite simple songs, almost without guitar solos and not even sounding as heavy as in the past. Just beautiful melodic and pleasant refrains with some pop glimpse, in simple song structures and sometimes some major melodies, that really confused their fans, at that time and actually divided them.

In accordance with this vast change on sound, Paradise Lost change their looks as well. Having short haircut for the first time, the world faces a new dilemma. Have Paradise Lost been sold out to the record companies wills? Or is this just another way of expression by the same people? The answer came with their next release… The controversial “Host”…

Host:

Released two years later on May 21, 1999 Paradise Lost this tame take their most outstanding and bizarre change on sound throughout their entire carrier to date.

“Host” is a record based on electronic drum loops without guitars at all, but only on electronic sounds and synth bass lines…And of course beautiful confusing melodic lines sang by Nick Holmes’ alter ego -his sensitive melodic voice- …If “One Second” gave a big strike on everyone’s stomach “Host” really knocked out everyone that hoped for a fast recovery back to the old sound.

A big bet, I think, the band gave to themselves, in terms of how far they can go. Confusing everyone, the band that once was admired for its chameleon character and changing on every record, now has made everyone change their minds about how open minded to changes a band can be. A bad release not welcome by the press not the fans at all… But where they able to find their way back on track? Their next step tried to help a bit, but as the title claims “Believe in nothing”…Until you hear it…

Believe In Nothing:

Released on 26 February 2001 “Believe In Nothing” is a return into a more rock approach of song writing. Rhythmic guitars in a  pop sense played with heavy Lost style. Really a short of return but as the band claimed even back then. The outcome was mixed without their presence. Although the songwriting has nothing to do with the band’s presence in the mixing room. The songs in here, try to be a bit more into the point, but once more as it seems it’s been a band period for the band. Also the drums mixed with drum loops returned but in the overall “Believe In Nothing” does not take any steps forward not even backwards.

Hopefully for everyone a much better release was to follow and stop the constant falling of a myth.

Symbol Of Life:

Here is the first real attempt of  Paradise Lost doing something that would have the approval of press and fans and radio…

Going on as if nothing can stop them Paradise Lost take their next step with “symbol of life” on 12 November 2002. Strong heavy production, a familiar mood in the likes of the past combined with all the elements that went into their sound the period from 1997 to 2001. Keeping their minds to a quite pop aesthetic, Paradise Lost start to gain attention to their name with this release, seeming as a phoenix rising back from its ashes. The guitars are back with a modern sound and the songwriting as well could be said to follow some modern version of what the band had in mind years ago. A very nice release after many years of controversy and style changes that led into nothing.. Believe it or not!!!! A big break was to follow though…Until the next step.

Paradise Lost:

The release of this album was a big bet for everyone. Recorded at Chapel Studios, Lincolnshire and Hollypark Lane, Los Angeles and released 3 years later on March 17, 2005. The band’s self titled record came to shake everyone’s minds once again…Simply called “Paradise Lost” this is a big return to a music field where we had forgotten Paradise Lost actually invented…and that is Gothic Metal!

Yes, this is the bands return to heavy songwriting and pure Paradise Lost mood…The solos return after many years. The songwriting is once again aggressive as does the sound and the drummer’s place is once again changed. Jeff singer takes Lee Morris’ place on drum kit after ten years. Double bass drums and aggressive Nick Holmes is back. An aggressive artwork is back to fit the songs and as with “One Second” the bands leaders Holmes/ Mackintosh decide to come back also in terms of looks having long hair again after 10 years. Not that the haircut is a sign of whatever though as the songs speak by themselves…Here we have the first hind and approval that this band really exists and has a lot to say to the years that are to come…

In Requiem:

And here we are with their complete resurrection…Recorded at The Chapel Studios, London and Strait Sound Studios, Gibson, Vancouver and released on May 21, 2007 the shock is almost immediate from the first song…

“In Requiem” is the ultimate comeback to their past. Having nothing to do with the previous releases, this record seems as if it had to be released after the band’s magnum opus…”Draconian Times”…Heavy songwriting, heavy guitars, heavy fast lead guitar solos, strong Metal production and guess what? Nick Holmes reminds himself he can be aggressive as hell….And he does this throughout the entire album…Pure Paradise Lost mood that brought them back to the metal audiences that wanted a sincere and conscious return to what they’ve been loved for…They vast and grand music intelligence of pure Gothic Metal played by its inventors back at its best!!! But are they to follow their own come back forever?

Faith Devides Us, Death Unites Us:

Latest release “Faith divides us, Death unites Us” proves that they surely are into this great return and even further trying to pull their own limits once again. Giving place to new structures and keeping the gloomy sound scapes going on, this release of September 2009 has not been tasted by time…The use of  7-strings guitars gave them an even more heavy sound, as so did the songwriting, reminding everyone an even more “back to the roots” record. Nick’s growls are somehow reappearing to this release even more angry and passionate. Although the difficult song structures not containing obvious refrains or not even being easy listening, puts them back to test…Time will really tell once again…

None knows what’s to come with this extraordinary band from Halifax!

Though they had made some awkward steps in the past, they never really disappointed anyone for real…So, we’ll let ourselves loose, to see what are they up to now and we’ll keep listening to what they’re offering, cause they do it better than anyone!!!

Andrew Koran.

Few times in history there has been points that set such a basis of what came to be later. There are times where it seems everything you have done goes right, like everything cospires in order for you to get what you deserve, be it success, joy, recognition or whatever else positive. This is the story about the biggest moment in the life of a nominal band: Twisted Sister! And we are going to give some more information about the third album of the band, ”Stay Hungry”.

Completing this year 25 years after its release, it still remains one of the best moments in the history of music generally, as it exceeds the limits of hard rock and heavy metal. There had been two more albums and one EP before this of course, having already prepared the ground and having made the band worldwide known. In June 1982 the band produced its first release, an EP called ”Ruff Cuts” in the Secret Records Label, shortly followed three months later by one of the best debut albums ever, ”Under the Blade”. The next step was to sign to a major record company and it was Atlantic Records that obtained the signature of the band. So came in 1983 the second album entitled ”You Can’t Stop Rock ‘n’ Roll, which also was a big success and the band started a series of great video clips with the title track of the record.

Let’s keep the hunger alive

It was not until May 18 of 1984, the date that marked the big change in the band’s history. It was then that their third effort, ”Stay Hungry” was released. And it really caught everyone by surprise. It was not only the variety of songs and the including of their finest moments so far. It was also the right timing, as hard rock and heavy metal had started gaining more success and promotion via press and television. Produced by Tom Werman, the album was a little more commercial to the ears than the previous two, but still sounded heavy and tight as in the past. The two finest songs of the band are included here, talking about ”We’re Not Gonna Take It” and ”I Wanna Rock”. Followed by two great videos, where the band also shows its funny and comedic side, they pushed the album’s sales forward to the maximum, as it sold two million copies by the summer of 1985, and three more in the future, becoming the band’s biggest success undoubtedly.

Also, there was a tour about the album, followed by then youngsters Metallica (which later became the best band the world has seen). One crucial point was also a cameo appearance of the group, performing ”Burn In Hell” for the movie ”Pee-Wee’s Big Adventure” for Warner Bros. This song was also covered many years later by the black metal band Dimmu Borgir in their album ”Puritanical Euphoric Misanthropia”. Nothing goes to the top without contradiction though, as the videos of the band, despite the funny approach, were considered violent against parents and teachers. PMRC hunted the band as they could (as did with other bands like W.A.S.P.) and vocalist Dee Snider had to testify before a Senate, one of the few musicians obliged to do that. Of course, it has remained in history what he answered when they asked him what SMF means.

He simply stated: Sick Mother Fuckers! Way to go Dee! As far as the album is concerned, words are poor to describe. Besides the three most recognizable tracks mentioned above, contained here are also the title track which opens the album, a classic live chiller, the Horror Terria suite combined by ”Captain Howdy” and ”Street Justice”, which later was mentioned in Dee Snider’s movie ”Strangeland” in 1999. The story of these songs was the basis of the film and Captain Howdy was played by Dee Snider himself. The ballad ”The Price” was, is and will forever be one of the most emotional songs in life, a landmark of hard rock and heavy metal. The album closes strongly with the last 3 songs, ”Don’t Let Me Down”, ”The Beast” and ”SMF”. To sum up, this was the battering ram that helped Twisted Sister get what they deserved. Sold out shows followed, recognition from all the fans around the world and for the next three years, the band continued being one of the strongest and most reliable live acts.

25 years later, they are still hungry. And God only knows what runs inside their veins. Twisted Sister, come out and plaaaaaaaay…

Aggelos “Redneck” Katsouras.

This story takes us back exactly 30 years ago. Black Sabbath have finished their tour for ”Never Say Die” and the situation inside the band is full of tension. Drugs, alcohol, lack of communication and many more set the stage of Ozzy Osbourne’s departure. Tony Iommi had to come to this decision, as Ozzy had lost the fire inside of him.

Rehearsals were becoming more and more rare, the group was on a point where no songs were written for the next album, no ideas were coming across. Everything was left unfinished. So it was about time that some changes had to take place. Ozzy’s wife today, Sharon Osbourne, came to the decision that the most suitable singer for the band was Rainbow’s former singer, Ronnie James Dio.

Having a completely different style comparing to Ozzy, Dio marked the beginning of a big change in Black Sabbath. His voice, his presence on the scene, turned the band into something completely new, a rebirth was made inside the group. The style of song-writing became more song-oriented, it was Dio’s undoubted ability to sing everything that made this happen. Some problems though, still existed, as Geezer Butler left the band for a while, replaced by Geoff Nichols, only to return four months later, so Nichols was moved into keyboards.

It’s Heaven and Hell…

On April 25 of 1980, one of the best recordings of all times was released and some pages in the book of history were written differently since then. ”Heaven and Hell” is still today, 29 years after its release a fresh and powerful album, to many people the best album of what they consider, the best band to have ever existed. So, it is easy to understand its importance. With songs like ”Neon Knights”, which set the stage of what later became power metal, the emotional ”Children of the Sea”, which was the first song the new line-up wrote together, the powerful ”Die Young” and of course, the title track. Easily one of the best songs in music’s history, with the memorable bass line in the beginning, the great lyrics and Dio’s comfortable and convincing voice making everything easier. And better of course. The album sold a million copies in the United States, it was highly acclaimed by fans, the best charting album since ”Sabotage”. The tour began on April, in Germany.

Later, they toured the States with Blue Oyster Cult, on a tour named ”Black & Blue”. This tour was a big success, as the band did a lot of sold out shows and feedback was really awesome. Unfortunately, on August of the same year, Bill Ward had to leave the band. He felt even worse each day that was passing, and that reflected on his drumming also. Ozzy’s absence was a critical hit for his close friend, who just couldn’t bear this any longer. Alcohol didn’t make things easier in all these. So, the rest, without informing him, found Vinny Appice and saved the tour. ”It hurt a lot” said Bill Ward. But things just didn’t seem to leave any other choice.

If you listen to fools… The Mob Rules!

In February of 1981, the tour for ”Heaven and Hell” was over. There had to be preparation for the next album with the new line-up of Dio, Iommi, Butler and Appice. Eight months later, in October of 1981, ”The Mob Rules” was ready to be released. It eventually gained great reviews, though in the beginning things weren’t that good, as it was compared to its predecessor. But since time heals almost everything, the album hit top 20 in UK charts and was certified gold. Tracks like opener ”Turn Up the Night”, the epic ”Sign of the Southern Cross”, the godly ”Falling off the Edge of the World” and of course, the recognizable title track, were enough to prove the band’s worth once again.

Then the band decided to record a live album that would have been as they really wanted it. Another album called ”Live at Last” was released without the permission of the band, so things had to take the right turn and be original Black Sabbath performing live. Then it was when the problems started and we had the first split-up. Iommi and Butler accused Dio of sneaking in the studio at nights, raising the volumes of his voice and Appice’s drumming. On the other side, Dio was dissatisfied with the original artwork, and the engineer they had. He would always tell the engineer to do things as he wanted, since he believed that on vocal issues, none could do it better than Dio himself.

Then it was when it was over. Dio started his own career, taking Vinny Appice with him. On the other hand, only two members were left of the first Black Sabbath line-up. For the history, ”Live Evil”, as it was entitled, was underrated. What made things even worse, was that Ozzy Osbourne had released a live album, full of Sabbath songs, entitled ”Speak of the Devil”. But that was not the end of the story…

The Second Coming

In 1990, while Dio was touring for his album ”Lock Up the Wolves”, joined in stage with Geezer Butler (who was not a current member of Black Sabbath then) and after this, they both expressed interest in rejoining the band. It was Geezer who took the hard work of convincing Iommi, who broke the line-up of Tony Martin on vocals and Neil Murray on drums. Cozy Powell remained on drums, but fate had other plans for him. His horse died on November and fell on his leg, so he suffered a broken hip. He couldn’t do any work for the album at all, so the band rejoined with Viny Appice, and the line-up of ”The Mob Rules” was back again. In the writing process, the tension between Dio and Iommi was large. Many songs were written again from the beginning and the album took really long to be completed. It cost a million dollars (!!!!!!) and it was finally completed in June 22 of 1992, called ”Dehumanizer”. It was welcomed with mixed critics, but was the best selling and accepted album for the band for over a decade.

Then the band did some touring in the States but it was Ozzy Osbourne who brought the strike once again. Having announced his retirement, he asked the band to play as a support group in the last two appearances in the No More Tours package, in Costa Mesa, California.

Dio never accepted that, as his pride couldn’t bear it, and he also had the feeling of a reunion of the old line-up. The result was to quit and it was Rob Halford who saved the band at the last moment, for these two shows. Iommi later said: “I do regret this a lot of times. We were at a good point and i didn’t want to split the other line up. But i did it because i wanted to see if the old feeling could come back”. Obviously he was wrong. But for how long?

Act 3: Same members, different name!

People often say that there is no fire without a spark. How true this sounds really… Rhino Records decided to release a compilation of old Black Sabbath songs with Dio on vocals, called ”The Dio Years”. This had as a result, the four members of the four releases mentioned above, to reunite and write three new songs, to make this compilation even better. Very pleased with the result, and seeing the fire still burn after 15 years, they decided to reunite the ”Heaven and Hell” line-up. Soon this idea fell apart, as Bill Ward couldn’t make it, so Vinny Appice took his place once again behind the drums. After extensive touring, highly acclaimed by fans and journalists, the decision of a new album’s release was made a lot easier.

The old members, craving to do something new since the reunion with Ozzy, tired also from his lack of will for such a release, found in the face of Dio the driving force to get out on the road again. ”The Devil You Know”, as it is the new album’s title, will always remain in history for bringing four great personalities together after so much years. Maybe as happened in the past, it will take some more time for fans and critics to accept it as it deserves. Still, it changes history in the most convincing way. The four-piece seems in the best shape they could be, performing with dignity, respect to the fans and to themselves also. Having been twice in a Heaven and Hell show, i can assure you that they feel what they do. Appice raises his drum set as high as he can, but still he remains a steady and straight to the point drummer. Butler seems to have forgotten himself back in the 70’s. He still plays like a child full of energy and many times seems as the driving force behind all this.

Iommi always standing on the right place of the stage, remains always quiet, concentrating on some of the riffs that changed and rewrote history. As far as Dio is concerned… He is 67 years old! Well, he doesn’t even look 27, not to me but to all the people. His voice not only remains but he can always leave you stunned. A real landmark himself! This is the current basic elements that drive this great force. Let’s just hope that there won’t be any disagreements or other attempts to reunite with Ozzy, as this time, something seems to get moving better than in the old days. Whatever happens… Gentlemen, thanks for everything you have offered us!

Aggelos “Redneck” Katsouras.