Cooles Ding, seine Stimme ist immer noch großartig und die Mitmusiker (allen voran Neil Carter) können es auch. Feinster Hard Rock!
Regarding what a producer does, Collins said: "Most people don't know what a producer does. The producer is there in the studio to channel the creative energies, and focus the sometimes disparate talents that are around, into achieving a finished recording. And bring out the best in everybody and creating an atmosphere where people can be creative and free to perform to their best.
Asked how it was different playing with Tornillo after performing with Dirkschneider during the band's early years, Herman told All That Shreds: "Mark is a really nice guy and really promising. It's kind of a different voice and Mark really doubles Udo in his personal way. I prefer the style of Udo's singing. He is original ACCEPT. There is this voice sticking in your head. On the new songs, which Mark sings for the first time in ACCEPT, it's a different character, but it's very good. You can't compare them, really. They are a match for certain things, but they are quite different people. I do like them both. I couldn't have the decision which one I would prefer. It would have been great if they would put a couple of albums with Udo and Mark together. That would be awesome."
Starke Performance in der Vergangenheit, siehe Videos OM verlinkten Artikel.
Learning to play the guitar is one thing, but learning to play with a big amplifier is a different thing altogether. It’s like trying to control an elephant.
Harry Conklin ist mit an Bord, wie geil!
Sie haben kontinuierlich geliefert. Gerade die letzten Alben mit Moore sind großartig - ebenso wie die letzten Konzert.
Asked what it's like to play a small venue like the Whisky after performing at stadiums around the world, Bruce said: "Oh, it's brilliant. Honestly. I mean, not just — you can see the audience, and you can smell 'em. It's fantastic. No, no. I mean, it's great. It really is great, because, honestly, it's what it's all about. It's the source code of music.
Hier die Fakten:
– Die Metalbörse wird wieder in den hinteren Bereich der Halle verlegt, was Käufern und Händlern wieder die Möglichkeit gibt, alle Bands zu verfolgen.
– Der Ticketpreis wird um 20 Euro auf 109 Euro zzgl. VVK-Gebühren verringert.
– Der Ticketverkauf beginnt exklusiv vor Ort am Keep It True 2024 im April für 109 Euro ohne VVK-Gebühr, danach online mit Gebühr.
– Kurz vor dem April KIT werden die ersten Bands für 2025 bekannt gegeben.
Coole Story: In Berlin-Neukölln soll bald schon eine Filiale des britischen Kult-Plattenladens Rough Trade eröffnen. Das Datum hielt die Firma bislang streng geheim.
Schöne Idee, aber warum ohne Eternal Idol?
Tony Martin über die Zeit mit Black Sabbath:
It was hard work for me. I'm 12 years younger than the rest of the guys, so even just circle of friends was different — they're hanging out with Ian Gillan and Brian May, and my best friend is Dave down the road. So that was a gap. And also the experience — they were way ahead of me in experience, at least 12 years further up the road from me, and I never could quite catch them up; they will always have that much more experience than me. So that was hard work."
He continued: "When I first got the gig, it was actually 1986 that I was put on standby when they were with Glenn Hughes on the 'Seventh Star' album. And I don't know what the issues were, but something went wrong with Glenn and they put me on standby. That scared me to death, 'cause it's Glenn Hughes. I can't sing like Glenn Hughes; nobody can sing like Glenn Hughes. Only Glenn Hughes can sing like Glenn Hughes. So that was really scary. Then they got Ray Gillen in. Then he left — he left to join BLUE MURDER with John Sykes, so they called me again and said, 'You'd better come down to the studio and try this out.' And they gave me one song, which was 'The Shining' off 'Eternal Idol', and then two days later said, 'Okay. You've got the job. You've got a week to finish the album.' So right from the start it was scary — it was huge; suddenly being the frontman of BLACK SABBATH was just ridiculous.
“Smoke on the Water”, the first person with an idea for the musical structure was Jon Lord. He drew upon his classical music training and suggested that they should use guitars to emulate the famous four notes of Beethoven’s Fifth Symphony
Das könnte ich für den Rest meines Lebens tun: Aufstehen, Kaffee trinken, vor tausenden von Leuten „Painkiller“ spielen und dann sagen „Danke, tschüss, das wars…“
"In contrast, I still grow as a bass player. I listen to other bass players and other types of music, whatever it is. I practice my bass every day because I want to become better. The growing never stops."
Interessante Einblicke.