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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Posted: 10.Mar.2024 at 17:59 |
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FUCK THE WORLD
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Banshee
Groupie Joined: 16.Nov.2007 Location: Novo mesto Status: Offline Points: 603 |
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Rockers of the underground, black and heavy is our sound! (Running Wild)
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Loh bi napisala 'Ja, gledam Menouvor butlege' pa bi poj na podlagi tvoje glasbene izbire v nadaljevanju posta postal ornk sumljiv glede 'dejstva', ampak tvoj 'ne' mi pa potrjuje, da si pedr... še dobr zate daj ta tedn eurosong a n Dej, na, prestop na temno stran: Fak keri škornji ... če bi jest mu take škornje, jest še gat ne bi nosu... vrjetn si jih zarad cene škornov niti ne bi mogu prvošt heh... sploh pa ne bi mel potrebe svoje desne pesti zabit veverici u rit, kokr Louis na tej slikci... predn se kdo obes na njegov camel-toe, tej 'posebni opremi' gredo zasluge za Dark Avenger od 3:50 do 4:02 :P
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Stratego
Newbie Joined: 19.Sep.2021 Status: Offline Points: 117 |
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Joey DeMaio's "Words Of Power" spoken-word tour 2023 confirmed dates:
Nov. 1 - Berlin, Germany - Kesselhaus |
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Banshee
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Ne, zadnje čase poslušamo samo Laut und hart stark und schnell. Baje so ful razburljive sanje potem.
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Rockers of the underground, black and heavy is our sound! (Running Wild)
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A gle'ate kej kvalitetne Manowar bootlege iz njihovih zlatih časov, al ste pedri?... sej ni treba odgovarjat, k itak že poznam odgovor... |
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Banshee
Groupie Joined: 16.Nov.2007 Location: Novo mesto Status: Offline Points: 603 |
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Rockers of the underground, black and heavy is our sound! (Running Wild)
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vulgaris
Organizator Joined: 16.Nov.2007 Location: Slovenia Status: Offline Points: 1913 |
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A veš, da sm probu... ampak sm kr na 'stark' poklopu budilko in 'schnell' zaspau nazaj.... sosedje pravjo, da je blo tisto jutro moje smrčanje izredno 'laut', sodeč po rjuhah je blo pa tud nočno prdenje kr 'hart'
Tak miks angleščine pa nemščine ni za nkamr... upam, da du konca živlena oz. vsaj še 4 dni, ene besedice v tem jeziku nom slišou.... pa na splošno me švapščina na neki spominja, pa ne morem določit točno na kaj:
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Banshee
Groupie Joined: 16.Nov.2007 Location: Novo mesto Status: Offline Points: 603 |
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Potem si pa nastavi za budilko Manowar Laut Und Hart Stark Und Schnell, se boš vedno še pred alarmom zbudil, da ti ne bo treba komada slišati.
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Rockers of the underground, black and heavy is our sound! (Running Wild)
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Enkat sm si nastavu tazadno plato od Maidnov za budilko, pa sm poj™ ceu tedn prespau, k je bla tolk dolgočasna...
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robert_balordo
Newbie Joined: 27.Aug.2016 Location: Gozd Status: Offline Points: 208 |
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zadnja plata maidnov je pa res za nič. ma 1000x rajši poslušam take manowar komade :)
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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En slabših Manowar komadov ampak boljši kot vsak komad na zadnji Maiden plati. Balordo bo edini ki se bo strinjal in boli me đoli.
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FUCK THE WORLD
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hi hi hi hi
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KWIPMAĐAP DIZMON'EN!!! |
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Pero
Admin Group Joined: 13.Nov.2007 Location: Slovenia Status: Offline Points: 3820 |
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Tole mi je ChatGPT napisu, k sem reku, da je Joey DeMaio...
Title: Eternal Heroes Verse 1: The battles have been fought The wars have been won But our legacy will live on In a world that's free and true Pre-Chorus: We've sacrificed a lot For what we believe and hold We'll never be defeated Our deeds will be forever told Chorus (in German): Wir sind ewige Helden Unser Herz wird immer schlagen Wir kämpfen für Freiheit und Ehre Unsere Taten werden nie vergehen Verse 2: We've faced our destiny And never been conquered by it Our courage and our strength Will always be evident in our deeds Pre-Chorus: We've sacrificed a lot For what we believe and hold We'll never be defeated Our deeds will be forever told Chorus (in German): Wir sind ewige Helden Unser Herz wird immer schlagen Wir kämpfen für Freiheit und Ehre Unsere Taten werden nie vergehen Bridge: We are warriors of light Fighting against the darkness Our oath will never break We'll always stand for what we believe Pre-Chorus: We've sacrificed a lot For what we believe and hold We'll never be defeated Our deeds will be forever told Chorus (in German): Wir sind ewige Helden Unser Herz wird immer schlagen Wir kämpfen für Freiheit und Ehre Unsere Taten werden nie vergehen Outro: Our legacy will live on In a world that's free and true For we are eternal heroes Our hearts will always beat anew. |
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Šujo
Paranoid crew Joined: 25.Nov.2007 Status: Offline Points: 3266 |
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đizs krajst, pa to je predelan demo abbe iz leta 1978.....toj epitaf, kuplen v aldiju, majkemi. že 20 let se brcam, kdrkol poslušam nov menouvor komad, pa me ne izuči....
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Fuck you and the horse you rode in on
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Stratego
Newbie Joined: 19.Sep.2021 Status: Offline Points: 117 |
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A tole besedilo so sestaviliiz random besed njihovih najbolj "die for metal" komadov .
Ne vem zakaj se mi je ob poslušanju pojavil prizor, kako v švabskem domu upokojencev žurirajo štirje 80+letni metalci tako da tolčejo s pestjo po mizi polnega piva in prepevajo tale metal šlager.
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V kolikor ne poje ''if you don't like us, go to job!!!'', sem pripravljen potrpet :D
Ta vikend sm najdu izredno kvaliteten bootleg iz trenutne turneje in se kitare zelo dobr slišjo - precej bolj passable kokr razni youtube posnetki.
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robert_balordo
Newbie Joined: 27.Aug.2016 Location: Gozd Status: Offline Points: 208 |
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ma daj! Pol Kristjan boš mogu v pekel, Adams poje "if you don't like us go to hell!" :DDDDDDDDDD
haha prvič slišim za te švabe feuerschwanz ma joj to je pa res grozno :D
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Fokkin' garbiđ od komada... tolk slabo, da grejo za kazen vsi moji Manowar CD-ji za en tedn u klet. Razmišlam, da bi menjal svojo Malovrh kolekcijo za 'Best of Feuerschwanz'... al pa 'Worst of' ... loh da je to isto, sam druga naslovnica.
putpis: True Manowar fan za popravt okus: Drgač bi jih šel še kdaj pogledat... kar sem vidu setliste za to turnejo ni lih za dol past... 'seglih' pa bi blo fajn, da se pojav še kakšen ekstra poletni datum kje blizu. Pa še en mind twister naključje iz obdobja, ko se je bend šele formiral - Žouwi je bil roadie za Black Sabbath na Heaven And Hell turneji, kjer je spoznal RTB-ja, v tem času je pa Eric Adams snemal demo z Bible Black, katerih basist je bil Craig Gruber, ki je bil basist Sabsov za časa produkcije Heaven and Hell.... vse gre v krogu, vse je povezano, nov kumad od Manowar je pa kurac!!!
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Nov komad ima boljšo produkcijo kot komadi zadnjih 10 (al pa celo več) let, refren je malo glup/poppy (v stilu WOTW) ampak jebiga (ang. verzija baje še pride), kitice so pa odlične, sploh zadnja, Batio je kar je, ma za take nonote kot so zdej Manowar je res odlično. Za kocnert mi je pa zdej že kar žou da nism dobil nobega za it...
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FUCK THE WORLD
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robert_balordo
Newbie Joined: 27.Aug.2016 Location: Gozd Status: Offline Points: 208 |
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Nov komad s švabskim refrenom je zakon! Eric Adam je neverjeten kot vedno. Solo mi ni nekaj posebnega a je O.K. :) Mihael Anđelo ni Ross the Boss
Besedilo tako kot mora bit, klasica manowar lyrics generator - skratka TOP! Tudi produkcija je kr v redu, sigurno meni najboljši Manowar komad zadnjih 15 let.
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Kr slabo zgleda oz. zveni kar je na videih, Adams neverjeten za svoja leta, iks tip na bobnih dobro nabija, Đowi je Đowi, MAB pa ni zvadil, pa tudi feelinga nima za RTB-ja skint... Skratka, ni neke panike da nism vidu v živo tega.
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FUCK THE WORLD
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robert_balordo
Newbie Joined: 27.Aug.2016 Location: Gozd Status: Offline Points: 208 |
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Michael angelo batio je totalna KATASTROFA v živo---ful fušira, komplet zajeba vse solaže, samo neki drka komplet ven iz tona...ne vem. Čudno res se mi zdi. Ni mi žal da nisem šel na ta koncert, sem jih videl samo 1x daljnega leta 2006 in takrat je bilo neverjetno
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Razmišljam da bi jih šou pogledat še 11-ič, v Brno, 26. januarja, karta je ~40 €. Zanima mogoče še koga?
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FUCK THE WORLD
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Cajhen
Groupie Joined: 28.Aug.2020 Status: Offline Points: 679 |
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Gašper - kurba kok hud koncert je tole MANOWAR za zmer ... to pa je večna muska epskih razsežnosti HAIL!
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Gašper Fatur
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Pri 9. minuti: Achilles, Agony And Ecstasy In Eight Parts
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Ful dobro (glede na to kaj je Manowar danes). Crap v primerjavi z zlato dobo, ampak najboljša stvar zadnjih 10 let. Digital EP "Highlights..." je pa kr komedija, 3 introti, ena balada in na koncu še ta komad. Live posnetek iz Grčije par dni nazaj kaže da sta nonota kar v formi, sploh Adams vedno znova preseneča, pa zadnji bobnar je dober, kitarist pa slab. |
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Gašper Fatur
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Spet igra z Anjo Rupel.
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FUCK THE WORLD
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Mrtupevc
Senior Member Joined: 12.Jan.2008 Location: Bangladesh Status: Offline Points: 1820 |
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Toooo, hvala! Vinilmanija je bla ja. Marsikej se je tam dobilo In te plate so pravi slatkiši
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Ole - OleOleOle;
Peterle - zakaj pa ne? |
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Madafaka
Groupie Joined: 19.Nov.2007 Location: Slovenia Status: Offline Points: 660 |
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A kdo ve, kaj je blo s Hamzikom?
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Raul artista, siempre Madridista!
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Madafaka
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Joey ima odlično priliko, da za big bang konec sestavi postavo Eric - Joey - Ross - David - Rhino ampak ne, neke no name tipe tlači noter, da mu ni treba keša delit okol...
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Raul artista, siempre Madridista!
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Pero
Admin Group Joined: 13.Nov.2007 Location: Slovenia Status: Offline Points: 3820 |
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Manowar trenutno pod imenom Lords of Steel špilajo kratko nemško turnejo
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Poli
Senior Member Joined: 29.Nov.2007 Location: Slovenia Status: Online Points: 11313 |
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na žalost mi platenšpiler ne dela več, tko da te mogoče primem za besedo |
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Šujo
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ce kdo tega ne nuca, odkupujem 🤣
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Fuck you and the horse you rode in on
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Poli
Senior Member Joined: 29.Nov.2007 Location: Slovenia Status: Online Points: 11313 |
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Po moje sem vse svoje vinile nabavil tam. :) Ah, zlati cajti 90-ih. |
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Duumdohtar
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Pomoje je bla to kr Vinilmanija. Tam sn redno izvaju "inventuro", haha.
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Doom za pogum.
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Šujo
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se mas pa ne rabis? :)
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Fuck you and the horse you rode in on
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Mrtupevc
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Heheh, mene so pa "dobil" s tistim: "Grandfather?" "Yes?" "Who where those four men?" "Who were they? They... were THE METAL KINGS!!!" To poslušal v bivši LP štacuni na Gornjem trgu v Ljubljani (če se kdo spomni imena, jaz se ga ne) nekje jeseni '96... Seveda sem mogu vinilko prec nabavt |
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Ole - OleOleOle;
Peterle - zakaj pa ne? |
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Spomnem se ko sm prvič vidu tole naslovnico leta '97 v glasbeni trgovini in takoj kupu CD. RIP Ken Kelly |
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Gašper Fatur
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Škoda da teh dveh legend ni več zraven... Sin od Adamsa baje gostuje na novem EP-ju od Feanor (kjer igra tudi Death Dealer, na vokalu pa Sven od Wizard), pred EP-jem je pa plata ki proba z Odisejo kopirat Triumph, hkrati pa Đowi snema svojo Odisejo.
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Od vseh legendarnih zgodovinskih posnetkov od 'Manaverja' je šel Žouvi na official MCM kanal tole stvar objavt:
Ko sm prvič to vidu, sm mal krepu od smeha... ni mi več smešn... Žoupi je pa zgleda kr dost pizda, vsaj tko prav (malce okajeni) Ross v povsem svežem intervjuju: |
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Gašper Fatur
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Z Rossom sm se prvič v živo pogovarjal leta 2005, potem pa še parkrat, zadnjič leta 2018 in je tip res ampak res totalna faca, prizemljen in prjazn, da ne govorim o tem kako neverjeten kitarist (bil sm v prvi vrsti na Ross The Boss koncertu 2018 in nism mogu verjet da spravlja vse te zvoke in nianse vn samo s kitaro uštekano direktno v Engl Powerball amp - nič efektov). Ampak, Joey je Joey in brez njega in njegovga prfuknjenga karakterja Manowar ne bi bli kar so (in kar so bli). Z njim sm v živo govoru samo na kratko leta 2002 ker je bil precej bolj nedostopen. Skupaj sta bla pa lih taprava jin-jang kombinacija. Od Manowar ne pričakujem več nč, tanov cover kitarist je na žalost u
kurcu, zadnji EP ima par kul trenutkov in strici so stari ko zemlja. Pri RTB bendu mi pa niti trenutni vokalist niti tisti s prejšnjih plat ne sede, par solo RTB komadov je pa precej dobrih drugače. Zdej grem pa enga Thora na max zašpilat. :)
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Ni panike madrfakr! ;)
Drgač pa tole: ... pa si predstavlejte, da bi se ta komad (odigran na tak način... pa čeprov mislm, da ne manjka, bi vsaj v en refren vrinu še razširjeno besedilo ala LTH verzija) pojavu npr. na Hail to England al pa Kings of Metal. Povezave med Billom Aucoinom, Kiss in Manowar se pa zavedam že kar nekej časa ampak mi je šele pred kratkim kapnil, zakaj je pri Manowar prisotno to nepotrebno šminkiranje oz. 'mistika' okrog privatnih življenj članov, 'mitologija' okrog razlogov za odhode iz banda oz. menjave članov, napeljevanje fanov v kultno čaščenje... Žovi je v smislu marketinga hotu imet band u stilu Kiss. Skorej ni dvoma, da je kot njujorčan od blizu spremlou Kiss fenomen v času njihovga dotedanjega komercialnega vrhunca. Na žalost pa na Manowar ni padla niti kapljica švica iz zaželjenga rock'n'roll mainstreama, mogoče tud zarad zaničevalnga odnosa do ostalih skupin iz metalskega cirkusa, kar so pa (svetohlinsko) oglašval kot zavračanje trendov oz. sami sebe ponujal kot heavy metalsko kontrakulturo splošni metalski subkulturi. Drgač pa respect oriđi zasedbi - vedno bom fan njihove glasbe pa računam na to, da jih še kdaj uspem ujet v živo (čeprov nazadnje je blo dost povprečno... ampak ceu trip je biu takrat sumljiv, tko da, negativno ne pade sam na Manowar) Pa seveda upam, da Ross napiše knjigo!!! Pri Kiss/Manowar povezavi je pa še posebej škoda, da nismo dobil kšnga filma ala 'Kiss Meets the Phantom of the Park' z Manowar u glavni vlogi :P ... vrjetn bi bil pornić z naslovom 'Manowar park their Meat in the Phantomess' ??? |
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Madafaka
Groupie Joined: 19.Nov.2007 Location: Slovenia Status: Offline Points: 660 |
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Hvala za tole, zanimivo branje.
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Raul artista, siempre Madridista!
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Intervju z RTB-jem o zgodovini 'Malovrhov'. Avtor je Trummer, kitarist in idejni vodja Atlantean Kodex. Intervju je nekdo prevedu iz nemščine, prvič pa je bil objavlen 2016 v reviji Deaf Forever, link za nakup spodej.
??? Fejk bobni na FtW, KoM pa tToS ??? Ne glede na vse, albumi men osebno zvenijo super, sem pa fan predvsem prvih štirih, tko da bi kurćev Đovi loh pučas kšn remiks 'Sign of the Hammer' pripravu. Za ta album menim, da ma podobn problem z zvokom kokr 'Born Again' od Black Sabbath, za katerga pa v prihodnjih mescih sledi remiks iz izvirnih trakov... jupeeeeeee!!!
The
Story of Manowar in the Words of Ross “The Boss” Friedman With the parting of Ross
the Boss and Joey DeMaio in November 1988 ended one of the greatest creative
runs in the history of heavy metal. As if in trance, MANOWAR had recorded four
immortal classics in only two and a half years: “Battle Hymns”, “Into Glory
Ride, “Hail to England” and “Sign of the Hammer”. After the ambiguous
transition album “Fighting the World”, the epochal “Kings of Metal” ended the
creative triumphal march that founded the renown of MANOWAR as the loudest,
grandest, most excessive, ostentatious, controversial and - for many fans -
simply the best heavy metal band of all time. The attempt of a story.
''Baby
I was born to play music, I’m the man with the screaming guitar!'' In the
Beginning, There Was Innocence Ross sits in front of me,
wearing glasses and a black shirt. The legendary guitarist has just celebrated
his 62th birthday. He loves to talk, and his likable “Noo Yawker” accent
immediately wins me over. Only once during our three long talks, Ross seems
upset. Angrily he tells the story of how AFM records shipped out his solo debut
“New Metal Leader” (2008) with a sticker saying “Best Heavy Metal Album since
Kings of Metal!”. His artistic integrity and independence are important to
Ross, and rightly so. For his involvement with the punk pioneers The Dictators,
he is held in high esteem by the rock community – beyond his role in MANOWAR.
Countless co-operations, from Anthrax to the punks of The Nomads to rock ‘n’
roll bands like The Spinatras shaped his life. His most recent “baby” are the
power metal heroes of Death Dealer. Furthermore, the Ross-The-Boss-Band is
preparing to tour again, this time with American musicians. Ross cannot accept
a standstill. “My motto is: songs, songs, songs. And when you have written all
these songs, you continue: with songs, songs, and more songs.” It is precisely
this manic energy and the need for rock that catapulted MANOWAR in only six
years from a backwater rehearsal room to the rock ’n’ roll Olympus.
''We
met on English ground …'' A Fateful Encounter At heart, it is Ronnie
James Dio who has to be named the father of MANOWAR. On May 18th 1980 in the
City Hall of Newcastle, during the Black Sabbath UK-Tour, he established
contact between Ross and his pyrotechnician Joey DeMaio. Ross had recently
taken over the guitars for the French tour support Shakin’ Street: “At that
time, Joey was part of the Black Sabbath crew. Ronnie told me to talk to Joey,
that he’d be great bass player and that music-wise, he’d be on the same
wavelength as me. Since I always did what Ronnie told me, I approached Joey,
and we immediately connected.” It wasn’t only their common New Yorker origins
that brought together Ross and Joey so quickly. In 1980, after a rash of failed
projects, both were looking for new musical challenges. In each other, they
found the perfect partner with the definite will to make it big. Aside from
Shakin’ Street’s major label debut that Ross had recorded in 1980, his main
accomplishments at that time were the first three albums of the legendary
Dictators. However, Ross’ musical biography didn’t start with Punk, but with
the first violin in the orchestra of his North Bronx school. Beatlemania, the
Rolling Stones and B.B.King brought him to rock music and revealed to him the
magic of the electric guitar. Ross cracks up laughing when he remembers the
name of his first high school band: Total Crud. Equally obscure: his
involvement with the hard rockers Lyre, who only released three rare 7”s; “It
Could Be You”, “Hungarian Rocksody” and “Mirror, Mirror”. Joey could look back
at a quite similar career. 400 kilometers north of New York, in the provincial
town of Auburn, Joey had initially also started to play guitar at the height of
the Beatlemania, before John Entwistle and Jack Bruce brought him to play bass
instead. His first major gig took place on Broadway, when he played bass in an
early production of the musical “Godspell”. Together with the hard rock band
Feinstein’s Thunder he released the powerful single “Midnight Lady” and the
Buddy Holly cover “Slippin’ and Slidin’”. Thunder nearly meant the end of
Joey’s career, when during a bass solo the pyrotechnics set his costume on
fire. Joey was hospitalized for two months due to his severe burns, and only
through extensive therapy for his hands could he retain his playing skills. Another rather unusual
musical episode was when Joey and his former schoolmate Eric Adams joined the
salon band Looks and toured the hotel bars of the state of New York. 1984, Joey
remembers that time in Sounds magazine: “That was the reason we wrote ‘All Men
play on Ten’! Eric and I had been playing in a Holiday Inn-Band. After three
weeks I said: ‘That’s it! I’ll never brush my hair again, I’ll never turn it
down again, or use smaller equipment!’ We were fired anyway. For some reason
the guests didn’t want bass solos for dinner.” Loud amps, no compromises and
the absolute will to hit it big – no wonder that Joey and Ross immediately
connected: “After the Dictators, I wanted to do something bigger, with more
power and energy. A band like The Who, or Cream, or a classic power trio. Joey
wanted the same. He was a great fan of Mountain and Grand Funk Railroad. At one
point, we started jamming in Black Sabbath’s dressing room. Even back then we
loved to play it loud. As soon as Sabbath were on stage, we let rip. When they
had finished their set, Ronnie burst in, roaring ‘What the hell?? Have you guys
lost it?!’ (laughs) We then started doing it every other night. That’s how
MANOWAR got started.”
''And
we all knew what we had to do …'' World’s Loudest Flatmates The musical energy between
Ross and Joey in 1980 must have been breathtaking. Without any financial
security through other jobs or bands, they quit Sabbath and Shakin’ Street to
fully devote themselves to their new, big project. “Joey lived in my flat in
New York, and we immediately started to write songs. Our first tracks were
‘Shell Shock’ and ‘Battle Hymn’. A good friend of mine was Bob Currie, back
then a big shot at EMI. I invited him to my flat and we played our songs to
him. He couldn’t believe how the two of us managed to sound like that. It was
so loud and heavy we sounded like an entire band with drums and everything. We
played ‘Death Tone’, ‘Fast Taker’, ‘Battle Hymn’ and some other songs we had
written. That was just Joey and me. We didn’t have a singer, we didn’t have a
drummer, and we had never played live. We didn’t even have a name – but we had
the support of Bob Currie, one of the most important people with EMI.” With a
little front money from EMI, Joey and Ross went to Auburn in 1981 to record a
two-track tape with “Shell Shock” and “Battle Hymn” on it for the negotiations
with the label. EMI immediately signed them. Meanwhile, the dynamic duo had
grown to be a full-sized band. On drums, Carl Canedy of The Rods helped out.
Vocals were taken over by another old friend of Joey’s from the Auburn scene:
Eric Adams. If you measure musical success with chart positions, Eric was
number one in the MANOWAR camp. As the singer of the Teenie band The Kids, the
eleven year-old Adams had entered the Spanish hit parade with the single
“Lovin’ Everyday” in 1965. But when Joey brought the Ian Gillian-Fan and former
bandmate from Looks to join MANOWAR, Eric was working as a butcher at a major
meat market – and was commonly known as Louis Marullo. “He had two sons named
Eric and Adam. He took these two names on as a stage name. Back then,
pseudonyms were not uncommon with musicians in New York. I also didn’t act as
Ross Friedman, but as ‘Ross the Boss’. Family names that can be associated with
a certain ethnic group don’t sound very mysterious. Take for example Gene
Simmons. He didn’t go on stage as Chaim Witz, because it would have broken the
theatrical rock star image. It was similar with us. Marullo, Friedman – that
didn’t fit the Barbarian image we had chosen. In fact, it didn’t fit anything.
(laughs)” With the Liberty/EMI major
deal in their pockets, Ross, Joey and Eric – still without a drummer or a name
– had a quick start. What wonderful times for musicians: the label sent the
band for six months to Florida, where they were to rehearse, write songs and
record the first album – apartment, pool, rehearsal room, equipment and all
expenses covered. Producer Joe Foglia (later sound guy for the TV shows “Miami
Vice” and “Scrubs”) established contact with drummer Donnie Hamzik, and also
the band name dates back to the Liberty-financed Florida era: “Originally, our
favorite name was Pax Romana. ICBM – Intercontinental Ballistic Missiles – was
also up for discussion. (laughs) One day, our technician Dawk blurted out:
‘Manowar! How about Manowar?’ Joey and I looked at each other and just said:
‘That’s it!’ Because it reflected our attitude. With the tons of equipment that
Dawk had set us up with, we felt like being at war anyway. The name also
embodied our fighting spirit: Manowar was the name of a famous racing horse
that is today regarded as America’s most successful show horse of all time.
Then, it also means battleship – a very strong image that translates well into
the language of heavy metal. We were in Florida, we had a band, we had a name,
and we had a major deal. Ready to start at last.” Meanwhile, Bill Aucoin,
famously known as the “Father of Kiss”, had taken over the management of MANOWAR
and, through sappy interviews and a razor sharp profile, tried to establish the
band as the new Kiss. On June 7th 1982, “Battle Hymns”, with its mighty cover
art and immortal title track, was released. Every second of it made clear that
these were no amateurs at work. Being 28 years old, Ross, Joey and Eric brought
a massive amount of stage experience to the band. Because of their original
sound, Joey’s innovative bass play, Ross’ earthy riffs and the one-in-a-100
year voice of Eric Adams, the press immediately celebrated MANOWAR as a new
hope for American metal and as a substantial answer to “the new British bands”.
Shortly thereafter, MANOWAR played their first live show at Club Summers on the
Beach in Fort Lauderdale – naturally with full equipment. It should remain
their last gig at the location. The place had to be renovated afterwards. But Liberty had anyway
booked a complete US-Tour as opening act for Ted Nugent. What started out as a
triumphal march – MANOWAR outacted the Headliner night after night and
pulverized U$ 20,000 worth of pyrotechnics at every show – ended suddenly.
After only three dates, “The Nuge” kicked the young New Yorkers off the tour:
“When we were unpacking our equipment, the other two acts started looking like
a children’s birthday party” laughs Ross. With their support slot, also the
deal with Liberty was gone. There had been a change in the upper management,
and the sales of “Battle Hymns” fell short of the expectations. Their rapid
ascent was followed by an equally sudden downfall. The fall from major
label-heaven traumatized the band. From that time on, MANOWAR staged themselves
as outcasts, fighters against the industry and false metal, and the only real
metal band (alongside Black Sabbath). In countless excessively immoderate
interviews, the band spoiled their chances with labels, magazines and other
musicians rather early. With their fans however, MANOWAR allied to form a
sworn, quasi-religious community – until this very day.
''Four
sworn to vengeance, see the hate in our eyes'' An Extra Helping of Attitude Without the cash flow from
Liberty, not only manager Bill Aucoin made off; Donnie Hamzik, who didn’t share
MANOWARs no-holds-barred approach, also had to leave the band. With their U$
12,000 payoff, Ross, Joey and Eric entrenched themselves in their Auburn
rehearsal room and swore to strike back. Their campaign of vengeance found
powerful support: “Scott Columbus sat down at the drumkit, and after three
seconds we knew he was going to be our new drummer. He had a tougher punch than
every other drummer I ever played with. Scott didn’t know fear. I love that. I
am a punk rocker from New York, and I like guys with attitude. He got behind
the drums and just blew us away.” The wheels started turning
again when MANOWAR got the attention of Jon Zazula. In 1983, the epicenter of
American metal formed around his shop Rock’n’Roll Heaven in New Jersey and his
label Megaforce. With Metallica, Anthrax and Overkill, the former stock broker
had some of the hottest bands of the time on his hands. When he heard the demos
of “Into Glory Ride” – among them an early version of “Brothers of Metal” – he
took charge of the release and organized a series of live shows as well as an
appearance on Nickelodeon, a children’s TV channel. In gratitude, they signed
the recording contract with their own blood. “Into Glory Ride” was released on
July 1st 1983 and poses until today the central monument of epic metal. The
songs are mightier and more dramatic. The rock ’n’ roll edge of “Battle Hymns”
only shows itself on the opener “Warlord” (the intro was “performed” by Joey,
Eric and Eric’s girlfriend …). Scott’s iron punch lends hymns like “Gloves of
Metal” a hammering drive. The power of MANOWAR – and “Into Glory Ride” proved
that once again – lay in their originality. No other band, neither back then
nor today, had that unique sound. Out of the “Battle Hymns”-sessions, also
“Gates of Valhalla” made it onto the new record: “Our advantage was that
whenever we were in the studio, we recorded many songs that ultimately didn’t
end up on the album. From the phase between ‘Battle Hymns’ and ‘Hail to
England’, there are dozens of unreleased songs. One of the first pieces we
wrote around the time of ‘Battle Hymn’ and ‘Shell Shock’ was called ‘Golden
Ride’. It was never used. On another demo from that time was a track called
‘The Meeting’ and another one with the title ‘The Will to Kill’. That was in
New York, before Carl Canedy. My friend Rich Fazio helped us out on drums. Joey
should still have all these tapes.” With the legendary cover
of “Into Glory Ride”, also MANOWAR’s image came more to the point: “When we
were living in Florida, “Conan the Barbarian” was released. We were blown away:
‘Hey, that could be us!’ (Ross imitates Arnold Schwarzenegger). We wanted to be
exactly like that! The sheer power … The women should look up to us, and our
foes should tremble before us. That was the image we wanted.” Despite receiving
spectacular critiques, “Into Glory Ride” ultimately failed to facilitate the
leap over the Atlantic. On the eve of the planned European tour, the
tourbooker’s sister was killed in an accident. The tour was cancelled.
Frustrated, MANOWAR left Megaforce and signed with Music For Nations in London,
who had already licensed “Into Glory Ride” for the European market.
''The
quest for the grail, to England we sail …'' On the Zenith No phase in the band’s
history documented the creative power of MANOWAR as insistently as the time
following “Into Glory Ride”. The secret of steel: absolute professionalism and unconditional
devotion to the music. In only six days, the band recorded the two (!) classics
“Hail to England” and “Sign of the Hammer” (with the exception of the title
track) in November 1983. At Toronto’s expensive Phase One Studios, star
producer Jack Richardson flawlessly succeeded in casting MANOWAR’s pounding
live sound on vinyl. “Blood of My Enemies” and the satanic epic of the century,
“Bridge of Death” (later imitated by Quorthon) are absolutely singular until
this day. No other band ever succeeded in combining melody, pathos and
heaviness in such perfection. A big part was played by Eric Adams, who in 1984
coruscated at his artistic peak. With the support of Music for Nations, MANOWAR
finally broke into Europe. The “Spectacle of Might” tour in 1984 made for many
anecdotes. Already after the first show ensued the legendary fallout with
supporting act Mercyful Fate, whereupon – as legend has it – King Diamond
bestowed a curse upon MANOWAR. It didn’t hurt. For MANOWAR again managed to
switch to a major label with worldwide distribution. 10 Records, a subdivision
of Virgin, took over the band business and released “Sign of the Hammer” on
October 15th 1984. Before, Virgin had sent the band to the horribly expensive
Manor Studios in Oxford to add one more song to the seven already completed in
the sessions with Jack Richardson. Under the aegis of Oliver Platt came thus
the title track into being. It is remarkable how Platt managed to imitate Jack
Richardson’s sound, so that on the album, no rift between the material from the
two sessions can be heard. Tracks like “Thor (The Powerhead”), “Mountains” and
the apocalyptic “Guyana (Cult of the Damned)” finally established MANOWAR
firmly on international stages. No less than two extensive tours through Europe
followed; the “Sign of the Hammer”-Tour in 1984/85 and the “Hail To
Europe”-Tour. “We played many venues we’d never been to before, the Hammersmith
Odeon among them. We also got the offer to open for Whitesnake. But they said
we could only perform if we wouldn’t wear our leather outfits. We said: no, we
don’t think so.” Still: in Europe, MANOWAR had found their second home.
Drums
of Doom - The Curse of Technology After a – for the band’s
standards – unusually long hiatus of approximately three years, “Fighting the
World” was released in 1987 – and met mixed reception. The commercially
arranged album marks a departure from its barbarian predecessors. It is not
only a transitional musical work, but was also marked by the tensions that were
beginning to take hold of the band. The extensive touring for “Hail to England”
and “Sign of the Hammer” was followed by the old game. 10 Records dropped the
band. Via an acquaintance, Ross established contact with the major Atlantic
Records. But Atlantic had no interest in buying a pig in a poke. With a small
budget, MANOWAR entered the studio to record a demo. Together with producer
legend Eddie Kramer (Woodstock, Jimi Hendrix, Humble Pie), a whole range of new
songs were developed: “Courage”, “Number 1”, “Brothers of Metal” and “Blow Your
Speakers”. The last two tracks were sent to Atlantic as a two-track tape, who
subsequently signed MANOWAR. The 1986 version of “Brothers of Metal” is
circulated on the internet today and clearly outshines the official “Louder
Than Hell” (1996) version. “Courage” and “Number 1” were later also used by
Joey on “Louder Than Hell”. Apart from the simple
songwriting, for instance in “Carry On”, it was the polished sound of “Fighting
the World” that alienated many fans of the band. The working practices of
MANOWAR had started to change considerably: “A problem had arisen while
touring. We couldn’t hear the drums on stage anymore, mainly because our amps
were so damn loud. Through Dawk, we found Vince Gutman, who had worked for
Prince and Bruce Springsteen. He had developed a trigger system for drums that
he used to produce those big artists. So around that time, we started to work
with triggered drums when playing live shows. At the studio, Vince then brought
along a device called Synclavier. He explained that we could use it to develop
drum tracks and edit them on the computer afterwards. In the studio, I like to
work conventionally, but Joey insisted that we also use the digital drums for
recording. On ‘Fighting the World’, Scott already didn’t play the drums
anymore.” The disagreement
surrounding the legendary “Drums of Doom” also reveals that the mood in the
band increasingly deteriorated. Especially Scott, who was now not heard on the
finished albums anymore, suffered from the changed recording conditions: “Scott
went through with all of that because he was a good guy, but I know how unhappy
it made him. He also hated playing live with a triggered system. Scott wrote
some of the drum beats, and he also recorded some cymbals. But the drum tracks
were created with the Synclavier, on the computer. That started a pretty
negative psychological development with him. He felt depreciated and said he
was probably good enough for the stage, but not for the studio anymore. It
really preyed on his mind.” A weakness of the album also lies in that you could
hear in many songs how MANOWAR struggled with the still unfamiliar digital
technology. Particularly striking is the awkward programming of the absolutely
identical sounding hi-hats on “Holy War”. Despite all its deficits, “Fighting
the World” was MANOWAR’s final breakthrough in Europe. Until today, the album
that is regarded as one of the first metal albums with a fully digital
production, sold 300,000 units in Germany alone. The impressive sales and an
unrelenting tour schedule notwithstanding, the band earned little money with
it: “Joey and me held fifty percent of MANOWAR, respectively. Of the money we
earned with the band we paid Scott and Eric. The rest we put in new equipment.
Joey never needed much himself, because he lived with his parents in Auburn.
But I had to pay for my apartment and my car. So from the beginning of MANOWAR
on, I worked in parallel in construction. We controlled the works at the
highways. I can imagine many people find that hard to believe, but if you live
in New York City, you need a lot of money. What I earned with the band was
never enough to survive.”
''They
were the Metal Kings!'' Divorce Amongst the Gods After some successful
touring (i. a. with Motörhead), MANOWAR retreated again to record their magnum
opus “Kings of Metal”. Even though Scott Columbus again can’t be heard on the
album, the result sounds more confident than the unsteady “Fighting the World”.
Exceptionally aggressive hymns like “Hail and Kill” or “Blood of the Kings”
reclaimed lost ground. Furthermore, no other band at that time would have dared
an overwhelming, megalomaniac bombast track like “The Crown and the Ring”. In
sum, “Kings of Metal” is a masterful work and one of the most lavish metal
productions of the 80s. Again, Universal Studios in Chicago and the digital
skills of Vince Gutman assumed responsibility for the complex sound. But as the
band had come to terms with the altered circumstances of production, their
disagreements concerning the songs were on the rise: “I never liked
“Grandfather, tell me a story …” (imitating the voice). Another song that
really upset me was “Pleasure Slave”. I told Joey that we definitely shouldn’t
release this song. He just said: “Yes we do.” My opinion didn’t count anymore. Right
up to the point where I realized how things were going to turn out.” But
disputes between the two heads of the band also flared up on another front.
Just like “Fighting the World”, “Kings of Metal” flopped in the USA. Ross
thinks he knows the reasons: “Our albums flopped because we never toured the
US. That finally broke our back. Joey just didn’t want to tour without full
equipment. I suggested to him that we just take two full stacks and play every
damn club in the USA. Anthrax did it, Metallica did it, Slayer did it. Joey
refused. Then the whole bullshit with ‘Death to False Metal’ started. The fans
had already begun making fun of us. You can’t go and tell a fan ‘If you like
Manowar, you can’t listen to Slayer, Metallica or Anthrax anymore’. All that hurt
us immensely, and it estranged us from the scene.” The end came shortly after
the completion of “Kings of Metal”, still before the planned European tour:
“’Kings of Metal’ came out in autumn 1988. I was really enthusiastic about how
great the album sounded. Then one day my phone rang. It was Joey, he said he
was in New York and wanted to talk to me. I suggested he’d come over so we
could share a beer, have some fun. He then said it was time for me and the band
to part ways. I asked him: ‘What’s now with the four kings of metal? You
couldn’t have picked a worse timing, Joey, could you?’ That really hurt. But it
is probably like a marriage. We started the band as partners, and then we
drifted apart. I am proud of my time with Manowar. Joey and me were like Yin
and Yang. But the Yin can’t ying without the Yang. (laughs) A prize fighter
can’t win with only one fist. But fortunately I have all my other bands. I
couldn’t be happier.”
translated from German
(contact: youthanasia_now@yahoo.de) written by Manuel Trummer
for DEAF FOREVER Magazine #10 (02/2016) get it here: https://shop.deaf-forever.de/ |
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Manowar (oz. zdej pač Erik+Jožko & Co.), sicer zreli za v penzijo že par let + nov kitarist žal fušira na mrtvo, ampak tle še kar kraljujejo (ritual na koncu ga zmaga):
https://www.youtube.com/watch?v=nKvobwsaeGI Pa legenda Death Dealer - 22. in 30. sekunda, to je to, attitude, kako odigraš, ne samo kaj (katere tone, akorde...): https://www.youtube.com/watch?v=tf5amSsX2UE In pa še večja legenda Ross The Boss, večkrat vidu live in vedno me je totalno navdušu, 100 ton attituda in filinga: https://www.youtube.com/watch?v=If-u3tuBUrE Nonoti med 65 in 70 letom (govorim za original člane: Ross, Joey in Eric) še vedno v istem True Metal transu kot 40+ let nazaj. To je to - MANOWAR! |
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FUCK THE WORLD
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Gašper Fatur
Senior Member Joined: 18.Nov.2007 Status: Offline Points: 10942 |
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Na Hellfestu pomoje niso hoteli igrat, ker jim niso omogočili showa kot so si zamislili/se dogovarjali (velikost produkcije/glasnost) in mogoče tudi kakšna nejasnost okrog honorarja za nastop.
Glede afere pa, Karl Logan je bil najden, mislim da tudi že obsojen in bo tudi zaprt. Zelo žalostno, da je zabredel tako zelo nizko, ampak ga ni več v bendu. Renome dobre glasbe, sploh s starih albumov, ostaja nedotaknjen. In v živo so pred dvema letoma, ko sm jih zadnjič gledal, bli odlični. Že nekaj let pa sicer pišem tle da bi blo fajn da grejo v penzijo čimprej... Pa še en link da se lahko malo potolažite. |
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FUCK THE WORLD
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bullet666
Newbie Joined: 14.Apr.2014 Status: Offline Points: 39 |
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Dead by down hahaha
v jok pa na drevo |
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