...that you probably have not. (Inspired by this list.)
1) Eaten chocolate cake with Ornette Coleman in his apartment.
2) Interviewed Lemmy in front of a live audience. (Video.)
3) Had my picture taken with Ozzy Osbourne backstage at Madison Square Garden.
4) Been a guest on live radio with Rob Halford of Judas Priest, and host Jim Breuer.
5) Received a phone call at home from Tony Iommi.
6) Nearly been thrown out of a Manhattan deli with Abel Ferrara.
7) Lived with a weird eco-militant/hippie cult.
8) Written liner notes for two CDs (one of which hasn't been released as of this writing).
9) Been flown to Stockholm to hear the last Opeth studio album and interview the band.
10) Self-published a book, and (as of this writing) three issues of a magazine.
Showing posts with label lemmy. Show all posts
Showing posts with label lemmy. Show all posts
Sunday, December 19, 2010
Wednesday, July 14, 2010
THIS WEEK IN CLEVELAND
Steady Eddie
Iron Maiden's iconic mascot comes clean
Iron Maiden's music is beloved by generations of headbangers. In 2010, don't be surprised if you find yourself sitting between a 17-year-old kid and a 47-year-old vet at one of their shows. But if you ask fans how they first came to the band, chances are pretty good that most of them will tell you something about spotting an awesome album cover in the racks and thinking I've gotta hear what that band sounds like!
Without a doubt, Iron Maiden have one of the best-looking discographies in music history, all centered on their snarling, demonic mascot Eddie. From the band's 1980 debut through the upcoming The Final Frontier, Eddie has been on every single Iron Maiden album cover, single sleeve, and T-shirt, sporting dozens of different costumes and guises. He's been an Egyptian pharaoh (1984's Powerslave), a military-tank commander (2006's A Matter of Life and Death), and an alien warrior butchering helpless astronauts (The Final Frontier). But he's always been distinctly himself too. The band's relentless touring schedule this summer prevented any members from sitting down for an interview, but Eddie was more than happy to be engaged.
A lot of metal bands have had mascots, but very few have achieved your kind of longevity. How did you first come to be associated with Iron Maiden?
It's surprising, really. That Motörhead dog/pig thing's been around forever, I'll give 'em that. They keep it in a cage backstage. And you want to keep your hands and feet away from the bars, let me tell you. You think coming between Lemmy and his Jack Daniel's is risky? Try approaching that beast. And Megadeth has that skull-faced fella. We met a time or two. Didn't get on. He's got Mustaine's personality, that one. I don't know what happened to the robot animals Judas Priest used to have, the eagle and that lion/tank thing. I miss those guys. But I really am sort of the king of the ring. To answer your question, I was in London, trying to make it as a male model, but it wasn't really working out. The whole "heroin chic" thing was years away, so a bloke with my physique was destined for a life of doors slammed in the face, you know? Even the punks and goths didn't want nothing to do with me. But then these guys spotted me on the street and said, "We're desperate for an image, and you're perfect! Be on our album cover!" So I said yeah, figuring it'd be like a steppingstone to something bigger, you know? Well, 30 years later, here I am.
What's your favorite of all the costumes they've put you in?
Well, I suppose I should say I like the new one — that's what an artist is always supposed to say, don't you know? But honestly, I think my favorite was Powerslave. The idea of being worshipped really appeals to me. That one, and Live After Death, where I'm bursting out of the grave. They really buried me, you know! And I might not look it, but I've got fears and insecurities like anyone else, and being buried alive, well, that's bloody high on the list, innit? So my positive memories of that one are mostly down to just getting out from under the bloody dirt! I tell you, we had some discussions after that, the band members and me.
And speaking of the band members, has there ever been any tension between them and you, given how much more recognizable you are than most of them?
Yeah, they know who the face of the band is. I mean, if you see a picture of them and I'm not somewhere in it, you'd wonder "Who the hell are these guys?" They're just five middle-aged Englishmen, straight out of any pub.
Six, actually. You're forgetting guitarist Janick Gers. He's been in the band since 1990.
Oh yeah, that fella. You know, I don't even think his guitar's plugged in. Always bounding about the stage, twirling in circles. The first couple of tours with him onboard, I thought he was some kind of hired acrobat, frankly. Well, to answer your question — no, no, we get along great. I really missed Bruce and Adrian when they were gone and was glad when they came back.
Do you have a favorite Maiden song?
Oh mate, I don't pay attention to the music. I just hang out in the backstage waiting for my cue. I tried listening a few times, but bloody hell, some of those songs are long. "The Rime of the Ancient Mariner" — Christ, I could put that on, go out on a date, and get home just in time for the final chorus! No, no, I do my bit and earn my check just like the rest of the crew. I'm no different than the guys who load the amps in and out, I'm just more recognizable is all.
[From the Cleveland Scene.]
Iron Maiden's iconic mascot comes clean
Without a doubt, Iron Maiden have one of the best-looking discographies in music history, all centered on their snarling, demonic mascot Eddie. From the band's 1980 debut through the upcoming The Final Frontier, Eddie has been on every single Iron Maiden album cover, single sleeve, and T-shirt, sporting dozens of different costumes and guises. He's been an Egyptian pharaoh (1984's Powerslave), a military-tank commander (2006's A Matter of Life and Death), and an alien warrior butchering helpless astronauts (The Final Frontier). But he's always been distinctly himself too. The band's relentless touring schedule this summer prevented any members from sitting down for an interview, but Eddie was more than happy to be engaged.
A lot of metal bands have had mascots, but very few have achieved your kind of longevity. How did you first come to be associated with Iron Maiden?
It's surprising, really. That Motörhead dog/pig thing's been around forever, I'll give 'em that. They keep it in a cage backstage. And you want to keep your hands and feet away from the bars, let me tell you. You think coming between Lemmy and his Jack Daniel's is risky? Try approaching that beast. And Megadeth has that skull-faced fella. We met a time or two. Didn't get on. He's got Mustaine's personality, that one. I don't know what happened to the robot animals Judas Priest used to have, the eagle and that lion/tank thing. I miss those guys. But I really am sort of the king of the ring. To answer your question, I was in London, trying to make it as a male model, but it wasn't really working out. The whole "heroin chic" thing was years away, so a bloke with my physique was destined for a life of doors slammed in the face, you know? Even the punks and goths didn't want nothing to do with me. But then these guys spotted me on the street and said, "We're desperate for an image, and you're perfect! Be on our album cover!" So I said yeah, figuring it'd be like a steppingstone to something bigger, you know? Well, 30 years later, here I am.
What's your favorite of all the costumes they've put you in?
Well, I suppose I should say I like the new one — that's what an artist is always supposed to say, don't you know? But honestly, I think my favorite was Powerslave. The idea of being worshipped really appeals to me. That one, and Live After Death, where I'm bursting out of the grave. They really buried me, you know! And I might not look it, but I've got fears and insecurities like anyone else, and being buried alive, well, that's bloody high on the list, innit? So my positive memories of that one are mostly down to just getting out from under the bloody dirt! I tell you, we had some discussions after that, the band members and me.
And speaking of the band members, has there ever been any tension between them and you, given how much more recognizable you are than most of them?
Yeah, they know who the face of the band is. I mean, if you see a picture of them and I'm not somewhere in it, you'd wonder "Who the hell are these guys?" They're just five middle-aged Englishmen, straight out of any pub.
Six, actually. You're forgetting guitarist Janick Gers. He's been in the band since 1990.
Oh yeah, that fella. You know, I don't even think his guitar's plugged in. Always bounding about the stage, twirling in circles. The first couple of tours with him onboard, I thought he was some kind of hired acrobat, frankly. Well, to answer your question — no, no, we get along great. I really missed Bruce and Adrian when they were gone and was glad when they came back.
Do you have a favorite Maiden song?
Oh mate, I don't pay attention to the music. I just hang out in the backstage waiting for my cue. I tried listening a few times, but bloody hell, some of those songs are long. "The Rime of the Ancient Mariner" — Christ, I could put that on, go out on a date, and get home just in time for the final chorus! No, no, I do my bit and earn my check just like the rest of the crew. I'm no different than the guys who load the amps in and out, I'm just more recognizable is all.
[From the Cleveland Scene.]
Wednesday, February 24, 2010
HIGH ON FIRE POLISHES ITS METAL WEAPONRY
[From the SF Weekly.]
Oakland's (and possibly Earth's) heaviest band, High on Fire, is ready for its close-up. The trio's fifth studio album, Snakes for the Divine, is its first for the E1 label after several years on highly regarded metal imprint Relapse. The musicians also worked with a real producer for the first time in years.
On Snakes, the band's sound was shaped by Greg Fidelmann, who has worked on such high-profile metal discs as Metallica's Death Magnetic and Slayer's World Painted Blood. "He's actually a producer producer," says guitarist and vocalist Matt Pike, contrasting Fidelmann with Steve Albini and Jack Endino, who worked on 2005's Blessed Black Wings and 2007's Death Is This Communion respectively. "Greg's a lot more hands-on."
The result is High on Fire's cleanest, most accessible album to date. Of course, the members keep their trademarks. Pike's vocals are a hoarse roar somewhere between Motörhead's Lemmy and the Melvins' Buzz Osborne with throat polyps, and the rhythm section of bassist Jeff Matz and drummer Des Kensel thunders like an avalanche. But each instrument occupies its own space, with room for subtle ornamentation. And Pike's guitar, one of the fiercest and most punishing axes in modern metal, has moments of surprising clarity. Indeed, from the album's first few moments, it's obvious this is a new stage in High on Fire's evolution — even if the title track begins with a high-pitched, buzzing riff that's naggingly similar to AC/DC's "Thunderstruck."
Pike laughs and owns up to the borrowing. "Not intentionally, but yeah, I kinda lifted a little bit of that," he says. "I thought it was so cool, and it's such a fun thing to play."
For the rest of its eight-minute running time, the song is a vintage High on Fire gallop, riffs landing like body blows from a 9-foot-tall steroid abuser. The album is jammed with the band's longest and most punishing songs (five pass the six-minute mark, and two run more than eight minutes). It also offers greater variation from the High on Fire crew. "How Dark We Pray" and "Bastard Samurai" are slower than anything the band has recorded since its 2000 debut, The Art of Self-Defense. "Every now and then it's good to slow down some," Pike acknowledges. "Jeff and I had a really wide span of tempos."
Pike is busy preparing for the band's first headlining U.S. tour in several years. "The way our management and booking agents are, they want us opening constantly," he says genially. Indeed, the group has been the first act of choice on Megadeth's 2008 Gigantour outing and on the recent Dethklok and Mastodon co-headlining tour, but Pike would like the chance to play for an hour straight for a change.
He'd also like to play fresh material this time out. "I'm two-thirds of the way through learning all of 'em so I can play and sing 'em live," he says of the new songs. "We're still working out the quirks. But by the time March rolls around, I'm pretty confident everybody will have their end of things in order."
Oakland's (and possibly Earth's) heaviest band, High on Fire, is ready for its close-up. The trio's fifth studio album, Snakes for the Divine, is its first for the E1 label after several years on highly regarded metal imprint Relapse. The musicians also worked with a real producer for the first time in years.On Snakes, the band's sound was shaped by Greg Fidelmann, who has worked on such high-profile metal discs as Metallica's Death Magnetic and Slayer's World Painted Blood. "He's actually a producer producer," says guitarist and vocalist Matt Pike, contrasting Fidelmann with Steve Albini and Jack Endino, who worked on 2005's Blessed Black Wings and 2007's Death Is This Communion respectively. "Greg's a lot more hands-on."
The result is High on Fire's cleanest, most accessible album to date. Of course, the members keep their trademarks. Pike's vocals are a hoarse roar somewhere between Motörhead's Lemmy and the Melvins' Buzz Osborne with throat polyps, and the rhythm section of bassist Jeff Matz and drummer Des Kensel thunders like an avalanche. But each instrument occupies its own space, with room for subtle ornamentation. And Pike's guitar, one of the fiercest and most punishing axes in modern metal, has moments of surprising clarity. Indeed, from the album's first few moments, it's obvious this is a new stage in High on Fire's evolution — even if the title track begins with a high-pitched, buzzing riff that's naggingly similar to AC/DC's "Thunderstruck."
Pike laughs and owns up to the borrowing. "Not intentionally, but yeah, I kinda lifted a little bit of that," he says. "I thought it was so cool, and it's such a fun thing to play."
For the rest of its eight-minute running time, the song is a vintage High on Fire gallop, riffs landing like body blows from a 9-foot-tall steroid abuser. The album is jammed with the band's longest and most punishing songs (five pass the six-minute mark, and two run more than eight minutes). It also offers greater variation from the High on Fire crew. "How Dark We Pray" and "Bastard Samurai" are slower than anything the band has recorded since its 2000 debut, The Art of Self-Defense. "Every now and then it's good to slow down some," Pike acknowledges. "Jeff and I had a really wide span of tempos."
Pike is busy preparing for the band's first headlining U.S. tour in several years. "The way our management and booking agents are, they want us opening constantly," he says genially. Indeed, the group has been the first act of choice on Megadeth's 2008 Gigantour outing and on the recent Dethklok and Mastodon co-headlining tour, but Pike would like the chance to play for an hour straight for a change.
He'd also like to play fresh material this time out. "I'm two-thirds of the way through learning all of 'em so I can play and sing 'em live," he says of the new songs. "We're still working out the quirks. But by the time March rolls around, I'm pretty confident everybody will have their end of things in order."
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