ROCK' N ROLL OLDIES

Thomas Eugene Stinson (3)

2009-07-07T02:59:00.000-07:00

Work outside Guns N' Roses

Outside of Guns N' Roses, Reed played on albums for his former bandmates Slash, Duff McKagan, and Gilby Clarke. He also guested on current Guns N' Roses bassist Tommy Stinson's 2004 solo effort Village Gorilla Head. Reed is additionally a fan of Larry Norman, a pioneer of Christian Music, and played on Norman's Copper Wires album. Most recently, he has composed music for the film scores The Still Life, released in August 2007, and Celebrity Art Show (2008).

When he is not touring or recording with Guns N' Roses, Reed frequently tours with his hard rock cover band Hookers N' Blow, in which he plays keyboard and guitar and occasionally sings lead vocals. For his work with Hookers N' Blow, Reed was named Outstanding Keyboardist of the Year at the 2007 Rock City Awards ("Rockies"). Hookers N' Blow was also named Best Cover Band.

Reed has also dabbled in acting, appearing as 'Mumbles' in the 2005 film Charlie's Death Wish.

Before Guns he was in a band called Wild and release an album called Wild 1, featuring great rock songs like Motor Angel, High Rider, She drew blood, Hot 4 love and Mean Dream Queen.

Personal life

Reed has been married to Lisa, an author and teacher, since 1991. They have two children. When not touring, he likes to unwind by spending time with his wife, describing himself as very faithful to her and his children.

In 2005, Reed took the unusual step of seeking admission to a college fraternity well after the traditional age of inductees, and on January 22, 2006 was admitted to the Cornell University chapter of Zeta Psi.

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Thomas Eugene Stinson (2)

2009-07-07T02:53:00.000-07:00

Music career

As an adult, Reed pursued a music career in Los Angeles. He was a founding member of the club band The Wild in the late 1980s, with whom he spent five years[3]. He also replaced August Worchell as the guitarist of the group Johnny Crash although the band split up shortly after he joined.

Reed met the original lineup of Guns N' Roses in 1985; his band, The Wild, rehearsed in a neighboring studio. He kept in touch, and in 1990 was invited by friend Axl Rose to join the group for the recording of the two Use Your Illusion albums. His induction into GN'R was far from smooth: former bandmates Slash and Izzy have said that no one in the band but Axl talked to Reed for the first two weeks.

In spite of the rough start, Reed soon became an accepted member of the group and his work was heared on the majority of tracks on both albums. As a member of Guns N' Roses, Reed has become well-known for his keyboard work during live performances, music videos and on such songs as November Rain, Civil War, Live and Let Die, Yesterdays, as well his contributions to some of the band's new tracks, including Chinese Democracy, "Shacklers Revenge", Better, "Street of Dreams" "If The World", "There Was A Time", "Catcher in the Rye", "Scraped", "Raid N' the Bedouins", "I.R.S" and "Madagascar", and When not playing keyboards or piano, Reed frequently provides backup on percussion and vocals during live Guns N' Roses performances.

Dizzy continues to record and play live with the current Guns N' Roses line-up, and has now been a member of Guns N' Roses longer than any other member besides Axl Rose. Since he joined the band in 1990, five years after its formation in 1985, he cannot be described as an original member. However, apart from Rose, he remains the only remaining link to the Use Your Illusion era and Guns N' Roses's heyday in the early 1990s.

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Darren Arthur Reed (1)

2009-07-07T02:47:00.000-07:00

Birth name : Darren Arthur Reed

Born : June 18, 1963 (age 46) Hinsdale, Illinois

Genre(s) : Hard rock

Occupation(s) : Musician

Instrument(s) : Keyboards, Piano, Guitar, Organ, Bass, Mellotron, Calliope, Hammond organ, Percussion

Years active : 1990-Present

Dizzy Reed (born Darren Arthur Reed, June 18, 1963 in Hinsdale, Illinois) is a contemporary rock musician. He is best known for his tenure as the keyboardist for the rock band Guns N' Roses, with whom he has played, toured and recorded since 1990. Aside from frontman Axl Rose, Reed is the only member of Guns N' Roses to remain from the band's Use Your Illusion era.

Reed was born as Darren Arthur Reed on June 18, 1963 in Hinsdale, Illinois, and was raised in Colorado. As a child, Reed was described as reclusive and introverted. His grandmother began teaching him to play the organ when he was a young child, and before he was out of elementary school, he formed small local bands. At the age of fifteen, he took up keyboard playing as a release from the constant bullying he endured at school.

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Thomas Eugene Stinson

2009-07-07T02:19:00.000-07:00

Birth name : Thomas Eugene Stinson

Born : October 6, 1966 (age 42), Minneapolis, Minnesota,U.S.A.

Genre(s) : Alternative rock, Hard rock

Instrument(s) : Guitar, Bass

Associated acts : The Replacements (1979–1991), Guns N' Roses (1998-Present), Soul Asylum(2005-Present)

Thomas "Tommy" Eugene Stinson (born October 6, 1966, in Minneapolis, Minnesota, U.S.) is an American musician best known for his work as the bassist for The Replacements and Guns N' Roses.

He was one of the founding members of the 1980s alternative rock band The Replacements, along with drummer Chris Mars, his older brother Bob Stinson, and singer-songwriter Paul Westerberg. Tommy Stinson was only 12 years old when he joined the band in 1979. He dropped out of high school in 10th grade in 1983 to go on tour with the band.

Bob Stinson left The Replacements in 1986, but Tommy Stinson stayed with the band until they broke up in 1991.

After the Replacements disbanded, Stinson formed the band Bash & Pop who in 1993 released one album Friday Night Is Killing Me. In February 1995, his brother died at the age of 35 as a result of years of substance abuse.

After Bash & Pop broke up, Stinson formed a band called Perfect, who released an EP in 1996 titled When Squirrels Play Chicken. In 1997 Perfect's album Seven Days a Week was shelved due to record company problems, but was later released in 2004 under the title Once, Twice, Three Times a Maybe.

In 1998 Stinson appeared on Puff Daddy's "It's All About The Benjamins (Rock Remix)" along with Foo Fighters frontman and former Nirvana drummer Dave Grohl. He also can be seen playing bass for the song in the music video.

Also in 1998, Stinson joined Guns N Roses, and he has been their bass player ever since. His bass playing is featured prominently on their long-delayed Chinese Democracy album which appeared in late 2008. Stinson has pursued a variety of other projects during Guns N Roses' abundant downtime.

Stinson played bass for the recording of MOTH's 2002 album "Provisions, Fiction and Gear".

In 2004, in addition to the long-shelved album by Perfect, Stinson released a solo album Village Gorilla Head which was well-received by the music press.

In the fall of 2005, Tommy joined Soul Asylum for a few gigs in tribute to Karl Mueller. Stinson and Dave Pirner (founding member of Soul Asylum ) were friends in high school in Minneapolis, MN. He and BT also scored the Jennifer Garner movie Catch and Release.

In between touring and writing, he managed to produce Bobot Adrenaline's debut album Unfurled.

In December 2005, he reunited with his surviving Replacements bandmates Paul Westerberg and original drummer Chris Mars to record two new songs for a greatest-hits collection. Stinson further collaborated with Westerberg on the soundtrack to the Sony feature film Open Season, recording bass tracks for 'Love You in the Fall' and 'Right to Arm Bears'.

On November 24, 2006 at Cleveland's Quicken Loans Arena, Axl Rose called the Eagles of Death Metal (one of Guns N Roses' opening acts) the "Pigeons of Shit Metal." Jesse Hughes, the Eagles of Death Metal's lead singer, told the New Musical Express that Stinson took his bass off and threw it on the floor saying "Fuck you, that's it" and threatened to leave the band. [1] Stinson did not leave Guns N Roses; however, the Eagles of Death Metal were fired from the tour. On December 2, 2006, Stinson issued a statement reading, in part: "Eagles of Death Metal were a suggestion of mine a while ago. Turns out they were the wrong band for our crowd. They were booed and did not play for as long as they were scheduled to. ... In the past I have thrown my bass. I have never thrown it at Axl or anyone else in the band nor has anyone thrown my bass back at me... yet. Axl has been a dear friend to me for nine years. We have no problem communicating and wish that people would stay the fuck out of shit they don't know anything about

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AXL ROSE

2009-07-07T02:13:00.000-07:00

Name: Bailey, William Bill (Axl Rose)

Nick name: Axl Rose

Birthday : February 6th 1962

Hometown : Lafayette IN, USA

Occupation : Singer, Entertainer, Pianist, Guitarist

Bands : AXL, Rapidfire, Hollywood Rose, L.A. Guns, Guns N' Roses

Some say Axl Rose is the best entertainer on the planet. Ax Rose certainly had the world at his feet back in 1992-1993. Back in 1991, when the whole world was awaiting (the first) return of Guns n' Roses, one could real in Rock music magazines : "What the world needs is Axl Rose".

Axl Rose was a choirboy, gospel singer, pianist, and even taught Sunday school in his childhood. His extremely strict upbringing led him to rebel by the age of sixteen. Getting into trouble left and right with over 20 terms (he only admits to guilt on about 5 occasions).

Axl Rose was once known by the name of Bill Bailey. Bailey being his stepfathers name. He took the name of Rose when he found out when he found out it was his real father's name.

Rose felt that leaving Indiana was his only option so he took off in search of his friend Jeff (Izzy) Isbell, who had already left to seek fame and fortune in Hollywood. In 1986, William legally changed his name to Axl. Axl Rose is the singer of Guns N' Roses since June 6th 1985 (date the band lineup was finalized). Axl Rose is multi-talented with an extreme and powerful vocal range, piano skills, and has even recently taken up the guitar to add to his abilities. Axl Rose is currently the only original member still part of Guns n' Roses. Axl Rose has also bought the name "Guns n' Roses" and is the sole owner of the name.

The year 2001 will certainly be remenbered as the year of the second return of Guns n' Roses considering that Axl Rose did 4 concerts (we'll just forget about the twice cancelled European tour). Axl Rose also said he was working day and night on a new album to be called "Chinese Democracy". Doug Goldstein (Guns n' Roses manager) also talked about the soon to be released album.

2002 will be remembered for the European Tour, the Axl Rose performance at the MTV Music Video Awards, and the North American Tour complete with two riots (Vancouver and Philadelphia) that came to a crashing halt in Philadelphia USA after Axl Rose again failed to show for a concert so the tour promoter pulled the plud on the North American Tour.

Axl rose is now believed to be working hard to finish the upcomming album "Chinese Democracy". Checkout the latest Axl Rose press release about the upcomming album.

Does the world still need Axl Rose? You betcha!

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Dani Löble

2009-06-30T01:55:00.000-07:00

Former bands: Höllenhunde, Glenmore, Element 58, Rawhead Rexx, Blaze

- Just until he got 12, Dani played on childrens' drums (like Markus today ;))

- Then he took his first drumming lessons

- The first musical steps he took with 14 with a garage-band.

- The first recordings followed with 17

- From 1991 on he played in several local bands

- From 1991 to 1994 Dani took lessons on the MSD (probably some kinda music school) in Zurich

- In 1994 he founded - together with Running Wild's Thilo Hermann - the band "Höllenhunde" ("Hellhounds" or something)

- From 1996 to 1999 Dani studied music at the ACM in Zurich.

- During this time he played at the Melodic-Metal-band "Glenmore".

- From 1997 to 1998 he additionally played at the acoustic-rock-band "Element 58".

- 1999 - 2005 Dani was Rawhead Rexx's durmmer

- Meanwhile he drummed for Iron Maiden's former singer Blaze Bayley (2004)

- Since Februar 2005 Dani is the drummer of legendary Helloween.

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Helloween’s history

2009-06-30T01:54:00.000-07:00

Helloween’s history dates all the way back to 1978 when Kai Hansen and Piet Sielck formed a band called “Gentry“. Around 1981 Kai and Piet changed the name of the band to “Second Hell” and recruited drummer Ingo Schwichtenberg and bassist Markus Großkopf who at the time had been playing in a band called “Traumschiff. In 1982 Piet Sielck leaves Second Hell to become a record producer and sound engineer and the band changes their name to “Iron Fist”. Michael Weikath of the band Powerfool tries to lure Kai Hansen to join his band, but in the end decides to join Kai’s band Iron Fist.

1984 comes around and an upstart independent label called Noise records invites the band to record two tracks on their new “Death Metal” compilation alongside bands such as Running Wild, Dark Avenger and Hellhammer. The band, still not satisfied with the name “Iron Fist” changes their name to Helloween. Ingo Schwichtenberg comes up with the idea to not only replace the “o” in Helloween with a pumpkin, but to also come up with pumpkin artwork which would later become one of Helloween’s biggest trademarks. The band contributed to the Death Metal compilation with two songs, a slower and sloppier version of “Metal Invaders” ( a song that would later appear on their debut full length Walls of Jericho) and the track Oernst Of Life.

In 1985 Helloween goes into the studio with producer Harris Johns and releases their debut, a self titled 5 track EP also known to many fans as “The Mini LP”. In October of 1985 the band then releases their first full length album, “Walls Of Jericho”, also produced by Harris Johns. The band also recorded the “Judas EP” which contained a new non album track entitled “Judas” and a compilation of live cuts. Helloween captured the media’s attention and received great reviews all over the world. In November of 1986 while the band toured, Kai Hansen found it difficult to sing and play guitar at the same time so when the tour was over the band began searching for a new singer. The band recruits 18 year old ex-Ill Prophecy singer Michael Kiske and begins work on a new album. The band decided that they wanted to release a double album, however Noise records said that they did not want Helloween to release a double album and therefore Helloween began work on the first part of a two part concept album.

Helloween 1987-1989">: Helloween 1987-1989

1987’s Keeper of the Seven Keys Part 1, produced by Tommy Hansen and Tommy Newton, puts the band on the map. Helloween received rave reviews everywhere around the world including America where they embark on their first US tour with Grim Reaper and Armored Saint. The following year the band released the second part of their concept album called “Keeper of the Seven Keys Part II” which is even more successful than part 1. The band embarks on the Pumpkins Fly Free tour which takes them all over Europe and they even become one of the headliners at the Donnington Monsters of Rock festival in England along with bands such as Kiss, and Iron Maiden. In late 1988 Kai Hansen decides to leave the band because of the long touring schedule. In 1989 Helloween recruits former Rampage guitar player Roland Grapow and the band then embarks on their second Headbanger’s Ball tour in America with Anthrax and Exodus. Helloween also releases two best of albums, “The Best The Rest The Rare” and “Pumpkin Tracks“. They also release a live album from their Pumpkins Fly Free Tour of Europe. In Japan the album is called “Keepers Live”, in the USA it’s called “I Want Out Live” and around the rest of the world the live album is entitled “Live In The UK”. Helloween, unhappy with their current contract with Noise records decides to break their contract and sign to EMI records. Noise filed a lawsuit against the band for breach of contract and the band fights a major legal battle with Noise records which would last a long time. In the end, Helloween loses the legal battle and must not only pay Noise records a huge sum of money, but they cannot release any material outside of Europe or Japan. This left many people around the world wondering….”What happened to Helloween?”

Finally in 1991 the band releases the “Kids of The Century” single which contains a message from the band telling fans where they have been for the last 3 years. They then release their next album “Pink Bubbles Go Ape” which was not received well by the press and fans alike. Although the album does contain some great songs, especially the ones written by Roland Grapow, tensions inside the band begin to build up between members over which direction musically the band should take.

">: Helloween 1993

1993 sees the release their next album “Chameleon” which becomes the band’s most unsuccessful album to date. The band begins to endure even more trouble on the Chameleon tour as tensions build up even more while drummer Ingo Schwichtenberg begins to have problems with his psychological condition and cannot finish the tour. Richie Abdel Nabi replaces Ingo on a temporary basis and finishes the tour. After the tour EMI releases the band from it’s contract they fire singer Michael Kiske, citing musical and personal differences.

">: Helloween 1994-2001

In late 1993 Andi Deris, former Pink Cream 69 singer, joins the band along with former Holy Moses and Gamma Ray Drummer Uli Kusch, a new lineup for Helloween is born. The band signs to Castle records in 1994. Their next album “Master of the Rings” was released and became what many people called a great comeback album! The band went on a successful tour and new singer Andi Deris surprised many fans with his versatile and powerful voice. The album was released a year later in North America with a second disc containing all 7 b-sides from the album. Tragedy also struck the band as former drummer Ingo Schwichtenberg committed suicide in 1995.

Helloween went back into the studio and released “The Time Of The Oath” in 1996, which was hailed by the press as their best album since the Keeper era. The album contained songs loosely based on the writings of Nostradamus. Helloween was back on top as The Time of The Oath earned them many gold and platinum albums throughout the world. Later that year they released the double live album “High Live” and was elected best band of 1996 by the Japanese magazine Buurn.

While the band began to write for the next album, Andi Deris released his first solo album “Come In From The Rain” and Roland Grapow released his first solo album “The Four Seasons of Life”. 1998 brought along the album Better Than Raw which was yet again released to rave reviews throughout the press. The band combined modern elements with their traditional Helloween sound which made for quite a unique album and went down well with fans. Roland Grapow also releases his second solo album. 1999 saw the band take a break and release a covers album entitled “Metal Jukebox”. This album contained a variety of rock, pop and metal classics which influenced the band. The band then set off to write their next album.

The band signed a two album deal with Nuclear Blast in the year 2000. Their next album entitled “The Dark Ride” , produced by Roy Z and Charlie Bauerfeind was released shortly after. The album became one of Helloween’s worst selling albums ever as the band took a darker and more modern sounding approach. Reviews of “The Dark Ride” in the press were mixed along with many fan reactions. Some liking the new direction and most wanting the Helloween of old. Tensions between members of the band began which led to the firing of guitarist Roland Grapow and drummer Uli Kusch. The band also released "Treasure Chest", a 2 disc best of release that also had some older Helloween songs remixed. The best of also came as a limited edition with a bonus disc called "Buried Treasure" which contained some rare b-sides.

The band then recruits former Metalium drummer Mark Cross on drums and former Freedom Call guitarist Sasha Gerstner. In 2003 the band began to record for their next album, however their new drummer Mark Cross was diagnosed with mononucleosis and could only complete two songs for the recordings and thus was forced to leave the band. Former King Diamond and current Motorhead drummer Mikkey Dee is called in to complete the band’s studio recordings on the drums.

">: Helloween 2002-2005

Rabbit Don’t Come Easy was released and drummer Stefan Schwarzmann is called in to join the band for the tour. The album sold well and the band completed a very successful tour around the world. Stefan Schwarzmann decided to leave the band after the tour but stayed throughout the preproduction for the next album until the band found a replacement. Dani Löble, ex-drummer of RAWHEAD REXX turned out to be the perfect drummer for Helloween and the band began to record the follow-up to Rabbit Don’t Come Easy.

">: Helloween since 2005

On October 31st 2005 the band releases a follow-up to their legendary Keeper albums entitled “Keeper of The Seven Keys - The Legacy”. The album brought more critical acclaim to the band and was received well throughout the world. The success of the album and it’s subsequent tour was so strong the band released a double live DVD and double live CD. In 2007, to commemorate their last two years of success, Helloween released a double Live CD entitled "Keeper Of The Seven Keys - The Legacy World Tour 2005/2006 - Live In Sao Paulo" and a double live DVD entitled "Keeper Of The Seven Keys – The Legacy World Tour 2005/2006 - Live On 3 Continents".

The band has just released their newest album "Gambling With the Devil" to great reviews. It's an album that takes them down a much heavier path and is described by singer Andi Deris as a mixture of Walls Of Jericho and Master of The Rings". The band will be embarking on a world tour that kicks off in Europe with Gamma Ray and Axxis.

-Tony Webster 10-23-2007

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Markus Großkopf

2009-06-30T01:51:00.000-07:00

Birthday: September 21, 1965

Birthplace: Hamburg

Height: 192cm

Weight: 85kg

Musical Influences: Deep Purple, Rainbow, Thin Lizzy, Kiss, UFO

Markus was born in Hamburg, Germany on the 21st of September 1965. At the age of 15 he spent a couple of weeks in a holyday camp, where he met two blokes that played guitar and drums in a punk rock group. Soon they became close friends and hung together all the time. As they needed a bass player in their band, Markus was offered the gig. So little Markus didn’t hesitate and agreed: “I can play the bass to save my live amigo”. He found himself playing bass in his first band.

They brought their gear (which wasn't much at the time) to the camp and started making noise. They covered songs from the The Sex Pistols, The Ramones, Sid Vicious, XTC, The Sranglers and others. Some time later, when their musical skills turned out to be a little better, they were offered their first gig at the holyday camp. But after 2 years of practicing and no further offers and appearances, Markus decided to leave the band to explore new horizons.

By that time his heart began to beat more for rock’n roll bands like AC/DC, Kiss, Ted Nugent, and Iron Maiden. His new aim now was to find a band playing hard rock or metal with an option and ability for more live performances. Markus was talking to a guy who knew Kai Hansen, who was looking for a bass player for his band Second Hell at the time. Soon he was invited to audition and guess what ? Yes, he got the job! Also members of Second Hell were Piet Sielk and Ingo Schwichtenberg.

With this line up they did a few club gigs on the Hamburg circuit. Piet left the band and after several name changes, they mutually split up. Once again it was time for Markus to pack his bags and watch out for another gig to climb higher in his career.

When he finished school he started an apprenticeship at a butcher. That was definitely a very good reason to find a band with future plans immediately. Joining the band Blast Furnace, Markus met the brilliant guitar player Michael Weikath, who formed along with Kai Hansen a new line up with former members of Michael’s old act Powerfool. But shortly after that, they replaced their rhythm section, by calling in Ingo and Markus.

This completed the first Helloween line up!

It seemed like a very strong team, ‘cause it lasted longer than a couple of weeks! They had two very creative guitar players and songwriters and a wild, hungry and steaming rhythm section in the band.

From now on the dice started to roll for Helloween. Their first studio recording was published by Noise records on the legendary death metal sampler in 1983, followed by the even more legendary 5 track EP called “Helloween” and of course the LP ”Walls of Jericho”.

The following two master pieces “Keeper of the seven keys Part 1 and 2” with high pitch singer Michael Kiske, they lighted a new fire and gave Heavy Metal a new identity! They climbed the charts and reached gold in Germany and Asia.

Since then Markus recorded the bass on all the albums and toured around the globe with Helloween. For almost 20 years now, you can call him one of the grand members of Helloween.

Markus recorded his first solo album named Shockmachine create link on site in 1998. He also played bass on Ken Hensleys and John Lawtons (Uriah Heep) new arranged orchestral version of “Salisbury”, which was performed live at the “Hamburg Markthalle” and was released on video in 2001.

You also can hear his bass playing on Edguy singer Tobias Sammets album “Avantasia” Part 1 & 2. His latest activity besides Helloween is the band Kickhunter, on which he played the bass and produced their first album “Hearts and Bones” in 2002 and “Little Monsters” which was released in 2007.

The new side project of Markus called “Bassinvaders - Hellbassbeaters” was released Friday, 25th of January 2008. You'll find information on MySpace Markus Grosskopf or on www.frontiers.it.

Is that guy really busy? Yes he is.

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Sascha Gerstner

2009-06-30T01:47:00.000-07:00

Sascha Gerstner, born in 1977 started playing keyboards at the age of 6, he then switched to the guitar when he was 13 years old.

Influenced by 80´s hairbands (MSG, Dokken, Pretty Maids,...) and mainstream rock (Toto, Bad English, Journey,...), he quickly taught himself to play the guitar.

At the age of 17, he already started to work as a studio guitarist in his home town and became well known around the area. In 1996 he joined the cover band scene in south germany where he met his former band mates from Freedom Call, where he was in the line up till 2001. He recorded the first two albums with the band and did three big tours in europe. When he left the Freedom Call he started to produce other young artists and worked as a songwriter for several acts. In 2002/2003 Charlie Bauerfeind (Producer) got him connected with Michael Weikath of Helloween. Since then Sascha Gerstner is a permanent member of the Band Helloween. Besides playing in the band, Sascha is running his own recording and mixing studio G-Tracks (www.g-tracks.com).

Check out Sascha on Myspace:
www.myspace.com/saschagerstner

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Michael Weikath

2009-06-30T01:45:00.000-07:00

Birthday: August 7, 1962

Birthplace: Hamburg

Height: 190cm

Weight: 75kg

Former Band: Powerfool

Musical Influences: The Beatles, Deep Purple, Rainbow, Scorpions, UFO, Van Halen, Led Zeppelin, Sex Pistols, Wishbone Ash

Michael Weikath was born in Hamburg 07.08.62, West Germany. In his early days he spent almost all his free time at the tube stereo set of his parents, listening to all the stations available at the time, often too long and loud that he got dizzy and needed to go to bed.

He kinda regards those days his 'studying years'. “Got one of those first little battery powered transistor radios too, first cassette recorder when I was 9 yrs old…”, he claims, “Making crap 'yeah yeah yeah oooh' Ukulele Xylophone washing powder drum recordings with a few classmates, man, THOSE were bad!”

Michael started attending school in 1969. His first owned album was The Beatles Best collection 62-66 and visited his first rock concert at age 13: Ocean, a Wishbone Ash/Boston type Hamburg band....returned home quite drunk that evening and got in trouble with his mum.

He tried to visit and watch all their shows...

In 1974 he got taught to play the acoustic guitar for one year and got himself an electric guitar and a distortion box 1 1/2 years later. He later had rehearsal-like experiences with friends, even an imaginary Punk band called Indeed.

Second attended major rock concert was Aerosmith in 1977 at the Auditorium Maximum Hamburg, fee 5 DM (2 $) at the time. He graduated school in 1982 and served heavy social duty instead of military service after.

His first original band was created in 1978 called Powerfool, but he played in parallel bands since 81/82 too, like in the school band SAS Band , (he had been mainly recruited for arrangements but ended up playing guitar as well, out of mere boredom, i.e. the original version of “How Many Tears” had been recorded with that band too), or Blast Furnace (along with Markus Grosskopf on bass, later joined by the Powerfool” drummer sometime in 83/84. Kai Hansen was playing a bit of guitar in Powerfool for a few weeks, filling the gap of former keyboard players. A few weeks later, they left and ended Powerfool to reform Kais former band “Iron Fist” and essentially name it Helloween, Markus returning from Blast Furnace; trying to get the Helloween concept running and started presenting rehearsal room tapes to Noise Records Berlin;...that’s when the trouble started...

Michaels first played songs/solos: While My Guitar Gently Weeps, Let It Be, I Want You ( Beatles ), Smoke On The Water/Burn! (Deep Purple) , Backwater/Caroline/Bye Bye Johnny ( Status Quo), Whole Lotta Rosie ( AC/DC)...House Of The Rising Sun (yeah wot else), You Really Got Me ( The Kinks/Van Halen ), Hole In The Sky/Paranoid Black Sabbath, Samba Pa Ti ( Santana ), Barracuda (Heart) Hotel California (Eagles), Freak Out (Chic), Summer Night City (ABBA), Tattoed Lady (Rory Gallagher) Gonzo/Stranglehold/Just What The Doctor Ordered (Ted Nugent)...etc etc.

His favorite bands/ influences: The Beatles, Deep Purple, 60/70ies/teenie bands ( Sweet, Bay City Rollers, Mud, Slade, Rubettes, Hello, Suzi Quatro, T.Rex, Kincade, etc etc ) Gigliola Cinquetti, Mothers Finest, Rory Gallagher, Wishbone Ash, Black Sabbath, Alan Parson's Project, ELO, Wizard, Pink Floyd, Van Halen ( I believe I must have been the first one in Germany who owned their first record...), KISS, Dio, Def Leppard, Journey, Brian Auger, Jimi Hendrix, Eric Clapton, Ted Nugent, KRUIZ, Omega, Sex Pistols and div Punk bands, Motorhead, Gary Moore, April Wine, Y&T, Sammy Hagar, Montrose, Johnnie Winter, Doobie Brothers, Allman Bros, Balance, Shadows, UFO, Michael Schenker Group, Boston, Frank Zappa, Rush, Rolling Stones, Demis Roussos and Aphrodite's Child, YES, Geordie, AC/DC, Uli Jon Roth, Frank Sinatra, Elvis, The Kinks, CCR, TenCC, Jeff Lynne, Led Zeppelin, Aerosmith, Mamas And Papas, Mahavishnu Orchestra, Al DiMeola, Glenn Miller, Randy Rhoads, Buddy Holly, Walter Trout, Vanilla Fudge, SAGA, BB King, Loudness, Robert Palmer, The Who, Ten Years After, Chuck Berry, Joe Cocker, Manfred Mann's Earth Band, Santana, Jethro Tull, Judas Priest, Genesis, Peter Gabriel, ABBA, Status Quo, Uriah Heep, Rainbow, Foreigner, Spooky Tooth, Mott The Hoople, David Bowie, Thin Lizzy, Heart, Eagles, Nektar, Focus, Camel, div international and german hit or evergreen or classical composers; Simon & Garfunkel, Ennio Morricone, Giorgio Moroder, Burt Bacharach, Beethoven, Bach, Haydn, ....AAAAH who else???

German artists: Udo Lindenberg, Udo Juergens, Katja Ebstein, Klaus Doldingers Passport, Volker Kriegel, Lenny Wolf, Atlantis, Frumpy, Kraftwerk, Nina Hagen, Peter Maffay, Spliff, Supermax, Baccara, Birth Control, Kraan, Wallenstein, Scorpions, Accept, Extrabreit, Hubert Kah, Rio Reiser, Destruction, Pink Cream 69, East german artists: Renft, Karussell, Cesar Peter Glaeser, Karat, Reform.

”Just for everyone to know and because it pisses me off each time I get asked, I did NOT mainly get influenced by Iron Maiden and Metallica. So cut it!

If too many queries come up regarding this biography, I'm threatening you, I may get it updated!!!

For the past 23 years Michael Weikath was and still is one of the founding members of “Helloween”. His devotion to the band and members lead them to a major success over the years with high sales and sold out concerts all over the world.

In the meantime, when he’s not surfing on the net, he’s writing new songs for the new “Helloween” which will be the followup to Keeper Of The Seven Keys - The Legacy.

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Andi Deris

2009-06-30T01:37:00.000-07:00

Birthday: August 18, 1964

Birthplace: Karlsruhe

Height: 178cm

Weight: 68kg

Former band: Pink Cream 69

Musical Influences: Sweet, Kiss, Deep Purple, Aerosmith

Andreas Deris was born on August 18th, 1964 in Karlsruhe, Germany. Andi Deris has always been devoted to music. As an adolescent, at the young age of 15, Andi started out playing guitar, but switched from playing guitar to singing. He then formed his first band, called Paranoid. Two years later, at the age of 17, Andi’s band changed its name to Nameless. The drummer of Nameless was none other than Ralph Maison, who also played with him on his solo albums, Come In From The Rain and Done By Mirrors. Ralph has always been a very close friend of AndI Deris, since they were young and in grade school. Andi and Ralph later formed the band Kymera.

When Ralph quit to go to college Kosta Zafiriou joined the band. A few years later in 1987 AndI and Kosta formed the band Pink Cream 69 with Andi Deris on Vocals, Kosta Zafiriou on drums, Alfred Koffler on Guitars and Dennis Ward on bass. The band earned their stripes and became famous by winning Metal Hammer’s “Best New Band” award at the Rockfabrik in Ludwigsburg Germany. The band then signed their first record deal with CBS/Sony Music.

In 1989 Andi Deris and Pink Cream 69 released their debut self titled album to stellar reviews in the press. They played their first tour opening for White Lion in Europe and they played in America for the first time in 1990.

In 1991 Pink Cream 69 released their next album entitled “One Size Fits All”. The album reached the number one spot in many European countries making the band one of the premier hard rock acts in Europe. The band played many sold out shows, including 5 concerts in Japan that would be used for their first live video “Size it Up! Live in Japan!”.

In 1993 the band then released the album “Games People Play” which would be Andi’s last album with Pink Cream 69.

Andi Deris then joined the band Helloween in late 1993/early 1994 to replace Michael Kiske.

Andi’s presence in Helloween brought the band new life and when Master of the Rings was released it quickly brought Helloween back as one of the premier power metal bands in the world. Andi has since released many albums with the band such as “The Time of The Oath”, “High Live“, “Better Than Raw”, “Metal Jukebox”, “The Dark Ride”, “Rabbit Don’t Come Easy”, “Keeper of The Seven Keys - The Legacy”, and most recently a live CD entitled “Live in Sao Paulo” and a DVD entitled “Live on 3 Continents”.

Andi has also released two solo albums, “Come in From The Rain” in 1997 and “Done By Mirrors” in 2000. Currently he is in his studio writing for the next upcoming Helloween album due out in the fall.

Tony Webster - 3-6-2007

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1968 - 1970

2009-06-25T12:25:00.000-07:00

Apple, the Rooftop and Abbey Road. And in the end, these last years were a time of plentiful confusion a time to break down and a time to build up.

The Beatles started their own company, Apple Corps with five creative divisions – records, films etc – and then went public with an offer that anyone with an artistic need could come to them and get help. Is there, even now, a machine to count such numbers?

The promise was that all sincere supplicants would be given encouragement, succour, a contract and maybe an envelope full of money. At the same time, the Beatles flew to foothills of the Himalayas to learn meditation. There, between sessions with the Maharishi, they wrote songs for what would become The ‘White’ Album.

When recording started, the songs had come in such profusion that, famously, The White Album had thirty of them – enough for two high-class musicals. They sped from one track to another, content that the unity of the album would transcend the disparity in the style and content of the tracks. It was always their strength that they wrote bewitching singles.

New songs were written to suit themselves; sometimes written alone. This new work could virtually be recorded solo, spontaneously, simply.

Following the White Album(and the magnificent Hey Jude) they made Let It Be and with the final regal glory of Abbey Road they left their grieving fans a legacy that will never be matched.

In the inevitable breaking down of old liaisons, there was room for growth. John met and married Yoko; Paul met and married Linda. George matured far beyond his years, settled into his spiritual space and expressed himself writing classic songs; Ringo was now writing his own numbers and was widely acknowledged as a supreme drummer and a very good actor. To everything there is a season.

That the rift between The Beatles, evolved with much public angst was a pity but this is not a perfect world is it?

Relationships anyway, were repaired long ago.

And in the end, the equation between the love they took and the love they made was intact into infinity. They still represent the twentieth century’s greatest romance.

D.T.

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’65, ’66, ’67: The Years of Dash and Daring’

2009-06-25T12:22:00.000-07:00

These were the years of dash and daring. Sweeping out of the final (and wonderfully old-fashioned) 1964 family Christmas Shows into the wider world of 1965, The Beatles would soon find themselves figureheads of a movement far beyond “pop” where a counter-culture / alternative society was made flesh. National boundaries were presumed to be doomed. Millions of minds were to become expanded and many trousers would soon be spandex.

...though the music would continue to pour out of them breaking in great waves over uncharted, challenging Reason and warming the heart, the Beatles would tire of those great sweating stadiums where they now played to screaming crowds who could no longer hear them.

In the studio years (1966 onwards), supported by the steady hand of the great George Martin, they would produce songs which would be forever fresh and which still set the standards against the newcomers have to test themselves.

Greatly turned on by the Spirit of the Age and by the “tea-parties” of those times, the Beatles provided a sound-track for the plottings of the baby boomers – millions of them – whose enlightenment (however compromised it may have been by the material world in the harsh times since) still provides a hedge against humankind’s grosser instincts.

They... go into the studio which brings an amazed world the mighty whirligig of Sgt Pepper, Penny Lane and Strawberry Fields here on the screen in surreal and glorious colour. They sing Baby You’re A Rich Man and they all are, but they don’t buy an island in Greece.

It was the great glory of The Beatles that they could absorb and transmute so much, first in those tiny houses in Liverpool, listening to eclectic 1940s wireless, then to r’n’r and r&b and to Dylan and the poets and soon to music and messages from India.

Unafraid of growth, dogged individuals with a powerful devotion to the group ethic, the Beatles accepted each other’s offerings and really “cooked” to make each record a feast that left us breathless with admiration. They never stood still.

D.T.

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1964 – 1965. USA, Films, Touring, MBEs

2009-06-25T12:19:00.000-07:00

’The Beatles sweep through the great US cities, drawing tens of thousands to airports for the merest glimpse.

They play for no more than half an hour per concert. A Hard Days Night has guaranteed them star status in the cinema and they laughed their way through Help! in Technicolour. Paul dreams that he has written Yesterday – and has. They are the first band to play a baseball stadium, Shea in New York, breaking records for crowd fever, numbers and good cheer. Oh, and they go to Buckingham Palace to receive medals from the Queen and, by now, more or less accept it as their due. They are, however, as happy and polite as can be.

’Wherever they went, they brought Beatlemania with them. They couldn’t help it; it was a form of real love. George would say many years later that the world used them as an excuse to go mad and then blamed it on the Beatles, but there is a parallel theory that it was time for the world to go that sort of mad – get down a bit, loosen up, and like Uncle John in Long Tall Sally, have some fun tonight. The crowd scenes are awesome and, in retrospect awful. How did no-one get killed?...

D.T.

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1963 – 1964 Beatlemania builds in the UK

2009-06-25T12:07:00.000-07:00

“They’ve got something! From Liverpool, I hear, of all places.” “From Liverpool uber alles!”

They leave their Cavern Club and within months they take the ascendancy in the British pop world, and start to live the life of Riley in London. They play the Palladium, the Royal Albert Hall, The Royal Variety Show, sing Moonlight Bay with Morecombe and Wise, give a spare hit to the Rolling Stones, play hundreds of concerts in Britain, nip over to Sweden, invent Beatlemania, record I Want to Hold Your Hand (their 4th British number one in a year) and, as if in a dream – while their conquering Paris – the record goes to Number One in America three weeks before the Ed Sullivan Show in New York.

If there had been no Beatles, no one would have had the imagination to invent such a story.

D.T.

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The Days Leading to 1963

2009-06-25T12:03:00.000-07:00

“The story began in Harold Macmillan’s “never had it so good” ’50s Britain. It should be fiction: four teenagers with no more than eight O’Levels between them, running and biking and busing and busking all over Liverpool in search of new chords and old guitars and half-decent drum kit and any gig at all.
The Beatles
The Beatles

Six years later, they were the four most famous and musical men on earth, the best dressed and on a good day the most captivating people anyone can remember. The narrative that began where Paul met John and clicked at a garden fete in leafy Liverpool, and ended in high dudgeon in high-end London, is so far fetched that it needs the power of a song punctuating every page to remind you with a joyous jolt that it was all true.

We didn’t dream it... though it came out of John’s dream of the “man on a flaming pie” who said “You are Beatles with an ‘A’”. It did all happen. The whole wonderful thing did happen, a long time ago, on the Mersey, on the Elbe, by the Thames and the Hudson River.

Amazing and marvellous and, nearly forty years on, forever young.

D.T.

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Introduction

2009-06-25T12:00:00.001-07:00

“I have never seen anything like it. Nor heard any noise to approximate the ceaseless, frantic, hysterical scream which met the Beatles when they took the stage after what seemed a hundred years of earlier acts. All very good, all marking time, because no one had come for anything other than the Beatles...

Then the theatre went wild. First aid men and police – men in the stalls, women mainly in the balcony – taut and anxious, patrolled the aisles, one to every three rows.

Many girls fainted. Thirty were gently carried out, protesting in their hysteria, forlorn and wretched in an unrequited love for four lads who might have lived next door.

The stalls were like a nightmare March Fair. No one could remain seated. Clutching each other, hurling jelly babies at the stage, beating their brows, the youth of Britain’s second city surrendered themselves totally.”

Derek Taylor (From his book “Fifty Years Adrift”)

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Robert Trujillo

2009-06-22T23:51:00.000-07:00

Robert Trujillo
Born: October 23, 1964
From: Santa Monica, California
Personal: Married, 2 Children
Instrument: Bass, Background Vocals
Vitals: Brown eyes, dark hair, 5'9"/1.75 meters tall

He's got rhythm, and he's most certainly got music. Now Robert Trujillo's also got the job of being Metallica's new bassist and family member...one that will doubtless fit this most righteous and cheerful of Southern Californians like a glove.

Although he sometimes does use a pick, Trujillo is best known as a baaaad motherplucker, a finger-playin' bass monster who's dexterity, tones and attitude have seen him grace the bass of Suicidal Tendencies, Infectious Grooves and Ozzy Osbourne's band since his first professional work with Suicidal in 1989. It all stems back to a childhood filled with variety and spice.

Growing up in Venice Beach "Dog Town", Trujillo heard everything, from Led Zeppelin to Motown with a chunk of funk in between. Joined with a young love of surfing, Trujillo developed a rhythm and a vibe that saw him play with a variety of local bands through his early 20s until he met Mike Muir of Suicidal Tendencies via his High School buddy, Suicidal guitarist Rocky George. the two got on infamously well, and thus began a rich and fruitful relationship which saw Rob establish himself as one of the most exciting bass talents in the rock world.

In the early '90s, he and Muir formed the experimental funk-rockers Infectious Grooves, and then in the mid-'90s Trujillo joined up with Ozzy Osbourne. Together with drummer Mike Bordin, Trujillo formed one of rock music's most soild and reliable rhythm units.

Rob's name first floated by the Metallicamp during Suicidal's supporting role on the Summer Shed tour of '94, when all the band noted his enthusiastic style and performances. Thus when it was time to consider who could step up and take the bass full-time in Metallica, Rob's name was an obvious choice.

By all accounts, Trujillo's audition dared the band NOT to give him the job, and even producer Bob Rock was heard saying how complete and unequivocally whole the band sounded with Rob playing.

And so it was that on Thursday, February 24th 2003, Robert Trujillo walked in to the HQ and saw Ulrich, Hammett and Hetfield immediately start applauding him. Again, Rob is the perfect fit, a calm, even-keeled man with experience and full bass props...and genuinely one of the nicest guys around. It all adds up to the 4th member, an equal part of the Metallica family and an exciting new stage in Metallihistory.

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Kirk Hammett

2009-06-22T23:45:00.000-07:00

Kirk Hammett
Born: November 18, 1962
From: San Francisco
Personal: Married, 1 child
Instrument: Guitar, background vocals
Vitals: Brown eyes, brown hair, 5'8"/1.75 meters tall

Kirk Hammett, never without a grin or a curious thought, is the true Bay Area band-member. Born in San Francisco, and raised in the East Bay town of El Sobrante, he gained an interest in music from his brother Rick's extensive record collection, Jimi Hendrix, Led Zeppelin and UFO. It all led to him properly picking up the guitar when he was 15, his first being a wholly unglamorous Montgomery Ward catalog special accompanied by a shoe box with 4 inch speaker for an amp.

After picking up a 1978 Fender Stratocaster, Kirk experimented by mixing and matching guitar parts to find his perfect sound before falling for a 1974 Gibson Flying V. In a determined (and successful) effort to upgrade his equipment, Kirk even took a shift at Burger King to get the cash together for his first Marshall amp. Around that time, Kirk also co-founded Exodus with Paul Baloff, and the East Bay thrashers crossed paths with Metallica twice, in late '82 and early '83, as a support act.

In April 1983, Kirk received a phone call from Metallica in New York. They were in the process of firing guitarist Dave Mustaine and wanted Kirk to fly out and audition. Kirk got the money together for the flight, left California for the first time and arrived in the late afternoon to find three guys who were still waking up. Immediately he, and they, knew the fit was right despite the fact nobody ever formally invited him to join.

A keen student of his instrument even today, Hammett followed his first 'Kill 'Em All' tour by taking lessons from Joe Satriani, and embarked upon a passage of guitar self-education that took in jazz, blues and classical styles. Indeed, education has always been Kirk's answer to potential burnout. After the marathon 'Black' album tour ended in 1993, he immediately went to the City College of San Francisco where he took classes, something he credits as the reason behind his reinvention as a guitarist on the 'Load' and 'Re-load' albums.

Kirk continues to bring not only a dazzling array of lead guitar parts to Metallica's music but also some savage rifferey, having started sharing 6-string duties with James during the 'Load' era. He is happily married to Lani, and lives in San Francisco along with a large collection of old Hollywood movie memorabilia, his two dogs Darla and Hoku, plus cats.......Oh, and for the record, Kirk plays his guitar at least 361 days a year.

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Lars Ulrich

2009-06-22T23:41:00.000-07:00

Lars Ulrich
Born: December 26, 1963
From: Gentofte, Denmark
Personal: 3 Children
Instrument: Drums
Vitals: Green eyes, blonde/brown hair, 5'7"/1.7 meters tall

The oft-seen and heard dynamo of Metallica, when it comes to arranging all matters from songs to business, Lars is always at the epicenter. Indeed, constant activity has been a hallmark of Ulrich's life. As a child he saw his father Torben run a small jazz club in Copenhagen (sax player Dexter Gordon is Lars' Godfather) before following the family on the professional tennis circuit where Torben became an established figure.

Lars was nearly 10 when the sounds of Richie Blackmore and Deep Purple blew his little socks off at one of the first gigs he ever attended. It began a theme which has been recurrent in his life -obsession with a band- and having bought the 'Fireball' album, he began a Deep Purple love affair which continues to this day. At 13 his grandmother bought him his first drum kit, yet percussion vyed with tennis for priority. When the family moved to Newport Beach, CA in the late '70's, the seeds of priority scattered themselves in his field: girls, rock'n'roll and the occasional funny cigarette were all keys in turning Lars from the wooden raquet to full metal racket. He got so excited about metal music that he jammed a bit with a young lad called James Hetfield before taking a teenage trip to England during June of 1981 to see his newly beloved Diamond Head. He thus managed to finagle living with them for a while before returning to So Cal and the tape-trading he enjoyed with the likes of Metal Blade Records Brian Slagel.

Slagel was looking for bands to record cuts for an album he would release on the label (their first release). Lars got a slot but had no band. Remembering the less-than-awesome yet energetic jams with young Hetfield, Lars called him up and told him about the album. James listened. And thus was Metallica conceived.

These days, some 80-odd million albums worldwide later, Metallica might have undergone enormous collective and individual changes, but the essence of Ulrich remains. He is at once a loyal, attentive and determined person, one who locks in for the long-haul and one who's skin can achieve great thickness. He's also, in recent years, become even more comfortable saying exactly what he believes in regardless of the consequences (as evidenced by his willingness to be the band spokesperson on the Napster issue).

Music now shares the front seat with Lars' three sons Myles, Layne, and Bryce as well as his thriving interests in art and film. Busy? Of course. But would Lars have it any other way? The proof is there for all to see...

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James Hetfield

2009-06-22T23:36:00.000-07:00

James Hetfield
Born: August 3, 1963
From: Los Angeles
Personal: Married, 3 Children
Instrument: Vocals, Guitar
Vitals: Blue eyes, blonde hair, 6'1"/1.85 meters tall

When it comes to defining Metallica, most people use James Hetfield as their guide. There's never any bullshit with James and there's never any shirking of duties. Example? When he threw his back out on the Summer Sanitarium 2000 tour, James ploughed his way through three weeks of intense physical therapy in four days, according to his physical therapist. And when the going got really tough, and James needed help in 2001, he sought it out, took it on and came back stronger than ever. It is precisely this sort of fierce, unbending dedication, devotion and spirit which has made James such an inspirational focal point through the years for millions of fans.

Ironically, the voice of Metallica (indeed, a defining voice of his rock'n'roll generation) very nearly wasn't a voice at all, simply because in the early days, James Hetfield didn't fancy being a lead vocalist. Metallica tried a few different vocal/guitar configurations. Some of the options considered included adding another
guitar player, having then-lead guitar player Dave Mustaine play the sole guitar and asking John Bush from Armored Saint to sing for the band. Of course common sense prevailed, James decided to fight harder to establish himself as a frontman and the results are, ahem, history

To trace the roots of Hetfield's unflinching dedication and determination, you have to go back to a childhood that was often tough but laid a foundation, which underscores James today. Born to a truck driver and light opera singer on August 3rd, 1963, in Los Angeles, his family's Christian Science religious beliefs played a large part in the young Hetfield's life, and subsequently form a central point for many of Metallica's lyrics. He was 9 years old when he first took piano lessons before taking on brother David's drums and finally picking up a guitar in his pre-teens.

With the likes of Black Sabbath, Led Zeppelin and Thin Lizzy providing inspiration, James quickly set about the task of becoming a rock star in his first band, Obsession. Made up of the Veloz brothers on bass and drums, with Jim Arnold on guitar, plenty of time was spent in the Veloz's garage jamming with Ron McGoveny and Dave Marrs acting as roadies. McGovney subsequently stepped in alongside Marrs and Hetfield when the Veloz brothers incarnation ended.

After moving to Brea, California, James attended Brea Olinda High School and met up with drummer Jim Mulligan. The two jammed at lunch time scaring fellow guitarists with their loud and heavy sounds before a guy called Hugh Tanner was seen carrying around part of a flying V guitar at school. Phantom Lord was born with Hugh on guitar, Mulligan on drums and James singing plus playing guitar. The group went through a few bass players until graduation when James moved back to Downey.

Back in Downey, James moved into a house owned by Ron McGovney's parents that was slated for demolition due to an expressway expansion. It was the perfect place for James and Ron to crash, rehearse and jam. James talked Ron into taking up bass, Phantom Lord was no more and the third band under Hetfield's leadership.

Leather Charm, was born. The only difference between Charm and Lord, was James singing without guitar and Ron playing bass guitar, Hugh Tanner and Jim Mulligan retaining their former 'Lord positions. Leather Charm was a largely hard rock combo, playing some originals and covers such as Iron Maiden's 'Remember Tomorrow' amongst others. The band managed to perform at a few parties and recorded a demo, but then began to fall apart.

First Tanner left the band (replaced by Troy James), then Mulligan left for a more progressive, Rush-like band. And with no drummer, the band was forced to call it quits. Although it was Mulligan's departure that led to James searching for a new drummer, we can safely say that Hugh Tanner was responsible for the catalytic moment which would change the course of James Hetfield's life and out him on the path to achieving his childhood ambition. How? Simple...Tanner introduced James to Lars Ulrich. The rest, as you'll read elsewhere, is a long, illustrious (occasionally curious) and still-evolving history...

James is the main songwriter in Metallica, co-creating the framework and structure for most Metallimaterial. When he's not writing, singing or playing, James enjoys a variety of outdoor activities including hunting, snowboarding, water and jet-skiing, sketching, annoying neighbors with guns and loud pipes on his chopper "The Saga", watching his favorite Oakland Raiders and going to hot-rod shows. He also collects older guitars (particularly those from 1963) and enjoys working on old cars. Amongst his favorites are a '55 Chevy BelAir (which he helped built and restore himself), and 'The Beast', a fearsome all-terrain 4-wheel drive Blazer that is designed to survive everything from earthquakes to nuclear holocausts. Aside from these pursuits, James is often happiest spending time with his wife Francesca and three children, Cali, Castor, and Marcella.

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Metallica History (part 4)

2009-06-22T23:18:00.000-07:00

…the “St.Anger” era kicked off on April 30th/May 1st with the small matter of a video shoot at San Quentin prison for the same-titled track, and continued in earnest with an MTV Icons tribute show a week later, where peers such as Korn and Limp Bizkit lined up to pay tribute to the chaps. The guys also performed live, marking the first ‘official’ live appearance of Robert Trujillo (and the last in which he wore long trousers!) as well as James Hetfield’s first public performance since his stint in rehab.

Then came the small matter of rehearsals…which Metallica chose to do in front of their loyal fan club members over 4 nights at the historic Fillmore Theatre in San Francisco…and then it was off to Europe in June for the start of what would end up being 19 months of touring, with the festival circuit taking the early brunt, Metallica successfully playing to multiple 60,000-plus crowds. “St.Anger” saw it’s release on June 5th, a raw, feral, unrestrained slab of molten Metallica stuffed with abrasion, aggression and the overspill of four years excitement, anger, frustration and ultimate fruition. For those who thought it would signal a radio-hohned band, “St.Anger” was a big, fat slap in the face. Indeed, it was actually too heavy for some! Oh, and as if to prove that this ‘new’ Metallica were not a bunch of ginger-snap panty-waists, the boys played three shows in three different Parisian clubs in one day during mid-June, each venue harboring a temperature of not less than 100 degrees.

In the US, Summer Sanitarium followed, with Linkin Park and Limp Bizkit amongst the support acts on another series of stadium sell-outs. In the meanwhile, the fervor was slowly building for ‘Some Kind Of Monster’, the documentary film by Joe Berlinger and Bruce Sinofsky about the world of Metallica between 2001 and 2003. Ostensibly slated to be about the making of an album, the filmmakers found a whole new project developing when James went into rehab, and thus having been projected as a marketing tool, the end product ended up being an incredibly revealing 2 hour 20 minute documentary.

As the Mighty Metallica continued ploughing on through the world (going back to Europe, Japan and then onto Australia in January), SKOM was debuted to enormous critical acclaim at the 2004 Sundance Independent Film Festival in Utah during January.

And the year continued in the way that you’d imagine a Metalli-year does, deciding to play (seemingly) every single town capable of hosting a major arena gig in North America (some 80-plus dates) with Godsmack in support. Result? Oh well, the usual sell-outs you’d expect for this ‘in-the-round’ two hour thirty minute set which saw no song off limits and many a fan favorite raised from retirement for a gleeful airing. (p.s….there was another Grammy in February for Best Metal Performance – ‘St.Anger’).

July saw the theatrical debut of ‘Some Kind Of Monster’ which opened to enormous critical acclaim and went on to hold it’s own in North American theaters for three months before going through Europe. And August also saw the release of the first official Metallica book, “So What! The Good, the Mad, and the Ugly”, an edited compilation of the band’s fan club magazine spanning 10 years from 1994 to 2004.

And still the ‘Madly In Anger With The World’ tour continued, selling out venues right through to it’s final date in San Jose, California on November 29, 2004…

A busy spell? By many’s standards most certainly.

By Metallica’s?

Business as usual.

They did publicly state that the majority of 2005 would be spent re-charging those creative and mental batteries, and true to their word it was a quiet year, except for two little hometown gigs with the Rolling Stones at SBC Park in November. We all knew an entire year would not pass without at least a sighting of the guys!

With batteries re-charged after the two shows with the Stones, the guys hit the studio in early 2006 to start writing a new album and were excited to announce that they would be working with a new producer, Rick Rubin. The spring and summer found them escaping from the studio once again with shows in South Africa (their first ever visit to the continent!), Europe, Japan and Korea. “The New Song” made its debut in Berlin, Germany on June 6 to give us all a little taste of things to come in 2007 with the remainder of the year scheduled for more writing and jamming.

Before they had even played 'The New Song' on that 07 summer jaunt, Metallica had decided to take a different approach to the studio, now working with Rubin. Having availed themselves of long-time twiddler Bob Rock's expertise and unifying qualities, the band wanted to see what happened when working with the decidedly hands-off Rubin. His message, when the band entered the studio in April of 07 to record, was simple; don't be afraid of your past, don't be afraid to rediscover your roots, embrace the ethic of performance over editing and get back to what Metallica essentially is. Thus began months of work with hands-on engineer Greg Fidelman handing the daily duties and Rubin overseeing and dropping in for tete-a-tetes to make sure matters remained on course. In essence, Rubin removed himself from the process as an ally to anyone and forced Metallica to find their own solutions and resolutions. He also made everyone re-record entire parts if they were unhappy to avoid a pro-tools dominated approach to creation, the idea being that it was always about the performance. Ironically, Rubin would later comment in the band's magazine So What! that the bulk of the album was recorded in a month, despite the fact it finally saw light on September 12, 2008, celebrating the release with two low ticket cost charity shows in Berlin and at London's O2 Arena.

The popular response was enormous, with the album smashing the charts at #1 and critical acclaim acknowledging that this was, indeed, the return to business that Metallica had threatened for so long. The groundwork had been laid with St.Anger and the fruit was abundant with Death Magnetic, cuts such as "The Day That Never Comes", "Broken, Beat & Scarred" and "All Nightmare Long" becoming instant fan favorites. Aside from the Death Magnetic album, on March 29, 2009 the band also saw Guitar Hero: Metallica released in North America, with international releases coming in the following couple of months. An Activision game, GH:M features 28 Metallica favorites and 21 songs from bands Metallica like, as well as guest appearances from King Diamond and Lemmy from Motorhead.

As well as all these releases, the band of course hit the road, the World Magnetic Tour starting on October 20, 2008 in Glendale, Arizona. It is a tour that keeps on giving, keeps on coming, and will flow deep into 2010, the band hoping to perhaps play in some places they've never been before. Gone, however, are the grueling days of 8-10 weeks at a time on the asphalt, instead the schedule ensures Metallica are never on the road for longer than a couple of weeks before taking at least a week off back at home. It is a highly effective solution to the problem of making the road work with family and home life, and as such the tour thus far has seen some of Metallica's best performances ever as 'burn-out' is not even a factor. Indeed, with shows selling out left, right, centre and sideways, an appearance at the legendary British site Knebworth on August 2nd as part of the Sonisphere Festival, plus three sold-out nights in Mexico City, it is fair to say that this portion of the story is most certainly to be continued...

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Metallica History (part 3)

2009-06-22T23:15:00.000-07:00

In the summer of 2000, Metallica took yet fresher steps towards establishing freedom from convention, proving that it was possible to assemble, and headline, your own stadium tour without promoting a record. Summer Sanitarium, Hetfield's back not withstanding, was a huge success, and anticipation grew as to when the band would hit the studio again.

The anticipation was replaced by fear at the turn of 2001 when, after several rumors, Jason Newsted departed the band. No one reason can be fairly the cause, more several long-standing issues that silently grew beyond their initial molehills. Of course many assumed that this would precipitate the break-up of the band, when of course it merely provided a conduit to newer levels of creativity and understanding.

The band realized there was much work to be done on both their personal and creative relationships, and spent the first part of 2001 investigating spontaneous avenues of discovery both in and out of the studio. They set up shop at an old ex-Army barracks called The Presidio, jammed together at length and made a decision not to rush the process of finding a new band member, opting instead to have producer Bob Rock do all bass parts.

In the middle of 2001, James Hetfield reached a place in his life where he felt rehabilitation, rest and re-focus were necessary for him to not only continue but also flourish. It meant that for many months, the members of Metallica embarked upon various levels of deeper discovery about themselves, the band and their lives both as a band and human beings. The results were to manifest themselves two-fold: when they came together again in the Spring of 2002 there was a deeper respect and appreciation for each other than ever before. And they were finally ready to make a new album, free of outside expectations, free of inner expectations and independent of anyone.

Settling into their new HQ, the band set about making 'St Anger' with Bob Rock. Those early Presidio sessions had certainly helped shape the freeform thinking and expression that was to come, but no-one, least of all the guys themselves, could've known just how fierce, raw and passionate the 'St Anger' material would turn out to be. With Rock always offering prompt and support, lyrics were written by everyone, writing was shared and performance was off the cuff, spontaneous and a 180 degree turn from the months of cut-and-paste which had become a part of the Metallirecording process in the past.

This Metallica was proud, confident, appreciative, humble, hungry, edgy, angry and also happy. Nervous? Sure, a little bit, but that too was good, yet another driver to new places and creative achievements that Metallica were enjoying.

It was in the Fall of 2002 that the band decided it was time to search for a new bassist, and after some closed auditions with personal invitees over a few months, ex-Suicidal Tendencies/Ozzy Osbourne bass player Robert Trujillo was chosen to be the new member of Metallica. Note, member. Not bassist or hired gun or replacement. But a band member. His whole demeanor, happy, relaxed, warm, enthusiastic blended with over 15 years of experience and a ferocious finger-picking style made Robert the only natural choice.

And so it is that as you read this, 'St Anger' has been completed, expectations are reaching heights that even the band cannot believe and there is the excitement of the first proper tour since Summer Sanitarium 2000. Looking at them, listening to them and seeing them, Lars, Kirk, Robert and James look like excited, eager children, men who cannot wait to be let out of then house to go and wreak aural havoc. Why? Because they can't! Metallica are about to hit a whole new level...and this is a story that will most DEFINITELY be continued...

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Metallica History (part2)

2009-06-22T23:09:00.000-07:00

On September 27th, 1986, that dream was given the most shattering of blows. Somewhere in Sweden on an overnight drive, the bands' tour bus skidded out of control and flipped, killing Cliff Burton. His influence on the musical growth of the band was enormous. Burton combined the DIY philosophies of jamming and experimenting with an acute knowledge of musical theory, and Hetfield in particular found a lot in his playing and personality. It was impossible to imagine Metallica without him. Yet Cliff would equally not have cared for people throwing in the towel because he wasn't around. And so it was that after a brief yet intense mourning period, Lars, James and Kirk decided to fight on. Jason Newsted was chosen from over 40 auditions to be the new bassist, the Michigan-born four-stringer leaving Arizona based Flotsam & Jetsam to take on the chance of a lifetime. The quartet immediately jumped into a tour, and then quickly recorded an EP of cover tunes titled Garage Days Re-Revisited (the band literally did the dirty work in Lars' garage!).

With Jason fully established, the band went back to record their fourth full-length album, ...And Justice For All, released in August 1988. The explosion that had been threatening for sometime finally happened. It reached #6 on the US charts, received a Grammy nomination for Best Metal/Hard Rock album, the band blew headliners Van Halen off-stage during the Monsters Of Rock tour and subsequently embarked upon an enormous worldwide tour. It was even the moment they finally delved into video territory, although the footage for 'One' was most certainly the most 'anti' video video of it's era.

The band took the show back out on the road and toured extensively to all parts of the world. ...And Justice For All produced two US singles and the band's very first venture into music video for the song One.

In 1991 Metallica released the self-titled 'Black' album, and saw their popularity soar to stratospheric heights. With new producer Bob Rock, this album was a subtle departure from the previous album with shorter songs, a fuller sound and simpler arrangements. It went straight to number one all over the world, stayed there for several weeks and ended up selling in excess of 15 million copies worldwide, spawned several legitimate singles as well as earning a Grammy and MTV/ American Music Awards. The band toured for close to three years, playing a solo arena tour in 'An Evening With Metallica', with Guns N' Roses on the duos' joint-headline stadium tour, and as headliner at many festivals. It meant that by the time the fall of 1993 rolled around, the four members were shattered both physically and mentally. Save for some Summer Shed action, there was little major activity as the band allowed their real lives to catch up with their rock lives.

Nearly four years would pass before the next Metallica album saw the light. Called Load, and recorded at The Plant in Sausalito California, it was the longest Metallica album to date with 14 songs, and signaled some significant changes for the band. Produced by Bob Rock, the material was loose, powerful and eclectic, the sound thick and punchy and the image one which screamed out change and freedom from enslavement to the Black album era. So many songs came from the sessions, that a second album titled ReLoad, followed in 1997. The Load tour was spectacular, encompassing cutting-edge technology, stuntmen, two-stages and an epic two-plus hours of performance. What ever doubts people might have had were swiftly blown away, and whilst Load could never match the heights of the Black album sales wise, it became a phenomenally successful album in it's own right.

In 1998, they re-packaged all the old B-sides, covers and the two previous Garage Days sessions and ran into The Plant to slam down 11 new covers. Electric, exciting and raw, the double-disc Garage Inc. was great reminder that for all the success, Metallica's heart still lay in the music. This point was further proven in 1999, when with conductor/composer Michael Kamen, Metallica embarked upon collaboration with the San Francisco Symphony to bring new dimension to classic material. Any potential skepticism of the project was blown away by two nights in April at the Berkeley Community Theater which proved to be epic milestones in the group's history. Far from their material being compromised, the arrangements of songs such as 'Master Of Puppets' gave symphonic instruments the chance to explode into the spaces and fill them with greater, heavier power than ever before. Having recorded and filmed the shows on the off-chance it might turn out alright on the night, Metallica released the S&M double-disc and DVD in late '99, marking yet another significant chapter in a Hall Of Fame - like history.

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Metallica History (part 1)

2009-06-19T17:54:00.000-07:00

It's the sort of story that scriptwriters would get laughed out of conference rooms for entering. The sort of story that illustrates perfect synchronicity between hunger, passion and time. The sort of story that only happens every 30-odd years. And the sort of story that would approximately 500 pages to do it true justice.

Metallica. A household name. The 7th biggest selling act in American history.

Who'd have thought it when, on October 28th, 1981, drummer Lars Ulrich made guitar player/singer James Hetfield an offer he couldn't refuse: "I’ve got a track saved for my band on Brian Slagel's new Metal Blade label."

The truth is, Lars didn't have a band at that time, but he did that day when James joined him. The two recorded their first track on a cheap recorder with James performing singing duties, rhythm guitar duties and bass guitar duties. Lars dutifully pounded the drums, helped with musical arrangements and acted as manager. Hetfield's friend and housemate Ron McGovney was eventually talked into taking up bass and Dave Mustaine took lead guitar duties.

The band adopted the moniker Metallica after a suggestion from Bay Area friend Ron Quintana, and they quickly began gigging in the Los Angeles area opening for bands like Saxon. Eventually recording a fully-fledged demo called No Life Til Leather, Metallica quickly saw the tape whistle around the metal tape-trading underground and become a hot commodity, with San Francisco and New York particularly receptive.

Metallica performed 2 shows in San Francisco and found the crowds friendlier and more honest than LA's "there to be seen" mob. They also caught up-and-coming band Trauma, and most importantly their bass player, Cliff Burton. Cliff refused to move to Southern California: it was enough to convince Metallica to relocate to the Bay Area, and Cliff subsequently joined Metallica.

In New York, a copy of No Life Til Leather made its way to Jon Zazula's record shop, the aptly named Metal Heaven. Zazula quickly recruited Metallica to come out east to play some shows and record an album. The band made it to New York in a stolen U-Haul. Dave Mustaine, at that point the band's guitarist, was proving to be more problematic than even these loose young chaps could handle. Thus a few weeks after arrival, Mustaine was sent packing, roadie Mark Whitakker suggesting Kirk Hammett from Bay Area thrashers Exodus. Two phone calls and one flight later, on April 1, 1983 Kirk Hammett joined Metallica.

Metallica's first album, Kill 'Em All, was released in late 1983 and some ferocious touring which saw the band's reputation soar both in the US and Europe. In 1984 they went to work with producer Flemming Rassmussen in Copenhagen at Sweet Silence Studios on their second album. 'Ride The Lightning' proved that Metallica were not some thrash-in-the-pan one trick pony, the writing and sound illustrating a growth, maturity and intensity which saw them immediately targeted by major management in QPrime, and a major label in Elektra. Both deals were done by the fall of '84 and their reputation continued to grow worldwide.

Returning to the same studios in 1985, the group recorded 'Master Of Puppets', mixing in LA with Michael Wagner and releasing in early 1986. They quickly secured a tour with Ozzy Osbourne, and that stint (plus a top 30 album chart position) saw their fan base and name take a quantum leap. What had seemed so unlikely was nearer than ever to coming true; world domination.

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Steve Morse

2009-06-18T07:17:00.000-07:00

Steve Morse
(born July 28, 1954, Hamilton, Ohio, USA)

Superb guitarist and bandleader in his own right, Steve went to Miami University to study classical and jazz guitar. He formed The Dixie Dregs in 1975 with bassist Andy West. Between 1982 and 1986, readers of ‘Guitar Player’ magazine voted Steve Morse ‘Best Guitarist’ for five years in a row. He formed The Steve Morse Band in 1983 and joined Kansas before switching careers to become an airline pilot.

Drawn back to music, he joined Deep Purple as lead guitarist in 1994, although he maintains his own recording band.

“It’s so much fun for me to play with the guys in Purple.Ian Gillan, apart from being a great singer, is also a master of the English language. He can manipulate words and pluck double entendres out of nowhere! What I most enjoy in life is working with excellent musicians. That’s why I get so enthusiastic about working with Deep Purple.”

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Ian Paice

2009-06-18T07:16:00.000-07:00

Ian Paice (born June 29, 1948)

Deep Purple’s drummer since he joined the band (age 19) in 1968. Armed with a dazzlingly fast technique, Ian has also worked with Paice, Ashton & Lord, Gary Moore and Whitesnake.

A recent highlight was guesting on Sir Paul McCartney’s ‘Run Devil Run’ (1999) rock’n’roll album. Steve Morse says about Ian Paice: “He’s like a real heavy Ringo. He’s just so good on the drums, but doesn’t want to make a big deal about it.”

Ian has also just released a new solo DVD which is aimed at drummers and music fans alike.

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Roger Glover

2009-06-18T07:13:00.001-07:00

Roger Glover

(born Brecon, Wales, November 30 1945)

The bass player and composer, joined Deep Purple from Episode Six in 1969, then left to become head of A&R at Purple Records. He wrote the ‘The Butterfly Ball’ (1974) concept album which yielded the hit song ‘Love is All’ sung by Ronnie James Dio.

He worked as a producer with such bands as Nazareth and Status Quo, as well as working with Ian Gillan on their album ‘Accidentally On Purpose’ (1988). Roger played with Ritchie Blackmore’s Rainbow (1979-1984) before returning to Deep Purple in 1984.

"The last eight years have been especially enjoyable. It is such a joy to be in the band now. After Steve joined it reawakened in me that feeling of why I was in the band in the first place. It’s like a great big adventure. That’s the way it was in the beginning and then, of course, politics and personalities, success and money get in the way of the fun. For a while it became a job or a bore. The last eight years have been the exact opposite. It’s back to the fun it was in the first place, which is a wonderful thing!”

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Ian Gillan

2009-06-18T07:11:00.000-07:00

Ian Gillan
(born Hounslow, Middlesex, August 19, 1945)

Ian joined Deep Purple from Episode Six in 1969. His first Purple album appearance was on ‘Concerto for Group and Orchestra’ but Gillan made his greatest vocal impact on ‘In Rock’, ‘Fireball’ and ‘Machine Head’. The band’s most famous anthem ‘Smoke On The Water’ emphasises his ability to deliver a lyric with smouldering intensity and rock’n’roll exuberance.

Gillan led his own band during the late Seventies before rejoining Deep Purple for ‘Perfect Strangers’ in 1984. In 1989 he toured as Garth Rockett before releasing further solo albums including ‘Naked Thunder’ (1990), ‘Toolbox’ (1991) and Dreamcatcher (1998).

Ian is presently working on several projects, both as a writer and vocalist, with a book under construction and a new solo album taking shape.

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Don Airey

2009-06-18T07:08:00.000-07:00

Don Airey

(born in Sunderland, England)

Has been a player on the rock scene for over 25 years, notching up almost 200 album credits and associations with 20 or more major bands including Cozy Powell’s Hammer, Colosseum II, Andrew Lloyd Webber, Ritchie Blackmore’s Rainbow, Ozzy Osbourne, Whitesnake, Jethro Tull and ELO.

From 1992-95, Don’s involvement in the music scene was sporadic, due to his older son’s serious illness, but since has been continually occupied recording, producing or touring with a multitude of artists including Tony Iommi, Glenn Hughes, Ten, Uli Jon Roth, Judas Priest, Silver, opera singer Mark Rattray, Gary Barden, Michael Schenker, UFO, Graham Bonnet and, last but not least, Deep Purple.

Don came to Purple’s rescue mid 2001 to help out for an injured Jon Lord, who has since retired, with Don recording the new album with Deep Purple as the band’s permanent keyboard player.

"The thought crossed my mind a few years ago 'If Jon retired...?.... Naaaah ....... They'd never ask me'. So when he did and they did, I jumped at the chance and it exceeded my expectations from the first number I played with them, Woman from Tokyo, at the Skanderborg Festival in 2001. Touring Russia and the US last year was a highlight and reccording a new album with the band in Royaltone Studios LA, January 2003, the sort of experience I thought I'd said goobye to years ago - Long may it continue!"

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Deep Purple History

2009-06-18T06:48:00.000-07:00

Purple prose

Deep Purple has surrendered to the ‘Rapture’; now it’s your turn
By Jeff Miers

The first time I heard Deep Purple – or perhaps felt Deep Purple is a better way to describe the experience – it was the mid-70s. I was 8, and Ritchie Blackmore’s sinewy, sinister riffing on the “Made In Japan” version of “Child In Time,” coupled with Ian Gillan’s dramatic, gorgeous howling, Jon Lord’s ominous neo-classical Hammond organ, and the dynamic interplay of the Roger Glover-Ian Paice rhythm section, tore the top of my head off.

It was unlike anything else I’d ever heard. And it quite literally changed my life.

30 years later, I’m still hearing Deep Purple for the first time.

“Rapture of the Deep” is the spot-on moniker for the disc you hold in your hands, and I’ll stand on any classic rock radio programmer’s desk in my cowboy boots and scream it loud, proud and Gillan-esque; “This is the best Deep Purple album there is, dammit! Forget ‘Machine Head’ – that was then; this is most decidedly now!”

This is the fourth record created by the revamped and rejuvenated Purple following the umpteenth departure of the mercurial Mr. Blackmore. The guitarist – one of the most significant in British rock history - had ceased to be a contributing force and was in fact draining Purple of its collective spirit when his ship finally set sail for good, a bit over a decade back.

Blackmore's exit is, in a sense, where our story begins, for the surviving band members left to pick up the pieces in his violent wake – Gillan, Glover, Lord, Paice – agreed unanimously on only one six-stringer, the soon to be knighted Steve Morse. Hardly scraping the dregs from the bottom of the barrel with that choice, boys.

Morse accepted, writing commenced for what would become “Purpendicular,” on-stage work-outs were seized upon with relish, and the band breathed the heady air of rebirth. When “Purpendicular” was delivered, it astonished. Rather than going softly into the long goodnight of “classic rock” middle-age, Deep Purple had reinvented itself. It took no more than a cursory listen to the likes of “Ted the Mechanic,” Loosen My Strings” and “Sometimes I Feel Like Screaming” to drive this point straight into the skull.

Morse brought a funkiness, a depth as guitarist and writer, an unparalleled fluidity as a soloist, a startling aptitude as foil to Lord, and an arsenal of influences – country, folk, jazz, what they’ve sadly labeled “fusion,” and an inherent understanding of blues-based riffs – that meshed effortlessly with the immaculate Glover-Paice sense of swing and Gillan’s seeming capacity to go anywhere at any time, full-throated and eyes ablaze.

”Purpendicular” was a celebration of both remembrance and reinvention. It at once acknowledged Purple’s estimable history and tradition, and a musical wanderlust not content to repeat the past. As such, it laid the template for a new Purple. And it all, it seems, was paving the way for the mighty metamorphosis that is “Rapture of the Deep.”

With Morse, Purple toured the world to accolades from the cognoscente. “Abandon” cemented the band’s on-stage prowess on record, and reminded us that Purple was, yes indeed, the heaviest of heavy rock bands. “Bananas,” the first record following Lord’s retirement from touring and his replacement by exquisite ivory-tinkler Don Airey, brought elements of pop to the table, grafted on some of “Purpendicular’s” ambition, and encapsulated the ensemble-riff power of “Abandon.” Tours behind both of these albums revealed this still-young band’s continued growth as a performing unit. By the end of the "Bananas marathon, Airey had marked his apotheosis, from "replacement" to fully-integrated band-member.

”Rapture of the Deep” marks yet another new beginning, however. And it, more than any other record this side of “Perfect Strangers” and “Purpendicular,” offers a snapshot of the band transitioning into bold, uncharted territory. It’s as if all the pieces fit, not for the first time, of course, but in a manner that reveals a more pure portrait of just what this band is capable of. The whole transcends the sum of its parts, which is fitting for a record that seems to be, in a very real sense, about transcendence.

”As we all know, it’s hard to breathe/When something spiritual has taken place/We don’t know how, we don’t know why/We’ve been transported to a state of grace,” sings Gillan during the album’s title track, and this verse can be seen as indicative of the over-arching ethos behind “Rapture of the Deep.” Lyrically, it speaks of a spirit not content with the status quo in terms of interpersonal, social and political relationships, and this irreverent yearning is matched by the searching nature of the music itself, which also refuses to be ordinary.

The album opens with “Money Talks,” a hook-heavy rocker with several twists in its tale, most notably Gillan’s harmony vocals during the chorus, his uber-hip sing-speak during the verses – recalling both “Fireball’s” “No One Came” and his own “No Laughing In Heaven” – and the manner in which the tune flirts with an Eastern modality before erupting into a searing Morse solo. “Wrong Man” slaps the listener in the face straight out of the gate with a strutting riff that can’t miss, as Glover and Paice exploit the pocket for all it’s worth, and Gillan kicks against the pricks in the voice of a character whose greatest crime seems to be having been in the wrong place at the wrong time. Both of these – like their siblings on “Rapture,” elegant and refined rockers steeped in blues and chomping at the bit, with names like “Back To Back,” “Girls Like That” and the hit single in waiting “Don’t Let Go” – are brilliant Purple tunes, estuaries from a river that never seems to run to dry. Ah, but the surprises… they’re many and varied here, and they elevate “Rapture” toward the rapturous upper echelons of the Purple canon.

“Before Time Began” takes the form of a threatening march, an abscess dying to burst. Paice offers a dark subterranean shuffle, as the band lays down a series of melancholic chords, and Gillan, in a voice drenched in pathos, bemoans a world in which “Every day of my life I discover/Someone murdering my sisters and brothers/In the name of some god or another.” No mere political polemic, this, however; Gillan’s touch is too light, and he’s a master of “leaving things out,” so that his lyric is suggestive, rather than mere vitriol. “All of those bad ideas became the law/And we’ve forgotten what we’re looking for.” Indeed.

And again, the Purple engine room is in full overdrive mode here, as an expansive call-and-response between Morse and Airey - who has made replacing Lord look easy, when we all know it is in fact far from it; Airey has made his mark on Purple, to be sure, by respecting what came before him and having the fortitude and chops to take it all somewhere new and exciting - leaves one feeling breathless and vulnerable. This is “progressive rock” in the most positive sense of that much-maligned term.

The centerpiece of “Rapture” also happens to be one of the finest tunes in the band’s history – no small claim, that. “Clearly Quite Absurd” is clearly quite sublime; a piece with a melody that simply hurts to listen to, in the way that first love is painful because it’s ephemeral and fleeting. Thankfully, your disc player has a “repeat” button, so this is a love that will never abandon you.

Gillan sings of escaping the snares of the mundane and commonplace, the accepted reality which deadens us to the potential one above and beyond it. Again, harmony vocals – Beatle-esque ones, in this instance – help set the mood, and an ascending chord progression led by Morse spreads its arms heavenward, eventually settling into a circular pattern that becomes one of the more moving codas not just in Purple history, but, yep, in the history of heavy rock itself.

This is Deep Purple, 2005 version. Intense, fearless, full of fire, and wit, and passion. Marked by serious virtuosity, but never a slave to it. Still finding new meaning in a medium they all but single-handedly created. Grab ahold of this, and don’t let go.

- August, 2005
Buffalo, NY

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