CHRONIC DECAY LIVE AT ULTRAHUSET, HANDEN, STOCKHOLM, SWEDEN

 

OZZY ON THE FRONT COVER (DALLAS TIMES HERALD WEEKEND EDITION, JUNE 8, 1984)

 

RAVEN (1991)

Raven on the European tour with Running Wild in 1991.

 

SACRED REICH (1990)

On set at the filming of the video for "The American Way".

 

SLAYER

 

DARK FUNERAL ON A STAGE SOMEWHERE IN TIME (2004)

 

SUICIDAL TENDENCIES "THE ART OF REBELLION" REVIEW (METAL HAMMER #8 VOL.7, 1992)

JUDAS PRIEST - INTERVIEW WITH HALFORD (HEAVY METAL TIMES #3, 1983)

 

KISS "DESTROYER" .... 50 YEARS OLD!

On march 15, 1976 Kiss "Destroyer" was released. For a lot of people in my generation this was their first contact with 'harder' music. 

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RUNNING WILD (METAL PROPHECY #1, 1985) < TRANSLATED

Metal Prophecy was a fanzine from Germany, written in German. But here's an interview translated to English to you.

RUNNING WILD 

Doors were supposed to open at 3:00 PM, anyway. But true to form, everything was still locked when we arrived at 3:30 PM on a Sunday at southern Germany's live metal metropolis, the Ludwigsburg Rock Factory. SAVAGE GRACE and RUNNING WILD were scheduled to play that day, essentially as replacements for EXCITER/METAL CHURCH; rumor had it that GRAVE DIGGER was also on the bill, but unfortunately, that didn't happen. After several hours of sweating profusely at the front, slowly losing all sense of time and any desire to headbang, the announcement came that there were problems with the support act, as they had played in Eindhoven the previous evening and apparently hadn't made it to Ludwigsburg. So, they started without SAVAGE GRACE. Quite right, since I wasn't at Loreley, I missed out on SAVAGE GRACE this time too. Their debut album, unlike some other fanatics, didn't convince me. The culprit is the awful (it had to be said) sound of "Master Of Disguise," which really ruins every song. While you could get as close as 40 cm to the stage before, the AOS Security Service increased the distance during the gig, in a veritable skirmish with the fans, to as much as 4 (!) meters at times! Well, that shows that security guards at concerts can really let loose. Always full throttle, at the back.

There's more. As usual, the four tough guys from the Reeperbahn started their set with "Diabolic Force", this time without an intro, but with a more aggressive and dynamic stage show than on their tour with Sinner (by the way, RUNNING WILD/SINNER tour shirts plus posters are still available for only 10 DM...). Besides the standard setlist from the "Gates To Purgatory" album, RUNNING WILD omitted older songs and played three additional tracks besides the title track of their new album "Branded & Exiled," including the demo anthem "Chains & Leather." Despite the low ceiling, the pyrotechnics were used extensively, so that even the headbangers in the back row had their eardrums fluttering with delight. Of course, "Adrian" was also unleashed, and during the encore "Prisoners Of Our Time," the resounding singing of the crowd in front of the stage almost drowned out the PA system at times! 

In a fit of excitement, RUNNING WILD promptly dismantled the stage decorations and threw them into the audience, which of course only fueled the atmosphere even more. After a 10-minute wait, they reappeared on stage one last time. Since SAVAGE GRACE didn't perform, a third of the ticket price was refunded, and a free ticket (ooh?) for the ALASKA (oh!) concert taking place a week later was given out. Luckily, one could choose between the ALASKA ticket and the free ticket.

Choose a drink voucher. On the occasion of the line-up change at RUNNING WILD, here's a short Mayan-thought, er, interview with Rolf Kasparek and newcomer Majk Kup-per, who fits the band both visually and acoustically.

MP: Why did Preacher leave the band?

RK: The issue was that we wanted to work professionally, and Preacher simply didn't have enough money to make that kind of work at the moment. He had to choose between music on the one hand and his career on the other. He then decided to discontinue his studies.

MP: There were problems in Ludwigsburg with the extensive cordon and the security service.

RK: The security was from Ludwigsburg. We said we wanted a barrier because if anything happens to anyone during the concert due to the pyrotechnics, then not only we but also our pyrotechnician are liable. We insisted on the barrier. Of course, we want to put on a good show with lots of great pyrotechnics, but only with the necessary safety distance from the fans, because the fans don't know when the effects will start. There are actually people who peek into the pots, and if the thing goes off at that moment, you can forget about that guy; he's really done for. We want to avoid something like that; it's never happened before. It sucks for the fans, but it's for their own good, a safety precaution. We're not doing this because we want to show off some big stars, it's purely for safety.

MP: How did you get Majk?

RK: We placed ads in Metal H., a trade magazine, and a local neighborhood newspaper, and he responded to the ad in the trade magazine. We tried out all the people and listened to all the demos. Majk was the very last one to come, and we immediately said, "He's the one."

MP: And is he a full-fledged replacement for Preacher?

RK: He's definitely a better rhythm guitarist. He's not playing the parts 100% yet, but that's quite clear; he's only been with us for three weeks (mind you, at the time of the interview, Ed). So you can't expect too much yet, but for these three weeks, he's absolutely top-notch.

MP: Do you know anything about your next German tour yet?

RK: A German tour is scheduled for January, followed by Europe. There's talk of MANOWAR or TOKYO BLADE being the opening act.

MP: Wow! Was the gig in Ludwigsburg your only one with, or rather without, SAVAGE GRACE?

Yes, we played as a replacement for EXCITER. We found out on Wednesday that we were supposed to play. We then frantically gathered up the pyrotechnics and rehearsed "Chains & Leather," which we didn't play at Loreley. You really can't learn more than one song in three days, otherwise you seem insecure on stage. That's why we only played for such a short time, although, with the air quality on stage, it was probably for the best; I almost fell over several times. Stephan briefly passed out and fell over on stage. MP: I thought that was a joke?

RK: No, he blacked out, whoosh, fell backwards and woke up right away. It was unbearably hot, it was really extreme.

MP: Compared to your tour with SINNER, your stage presence was noticeably better...

RK: Yes, that's right, we realized from a video of the Bochum gig that more had to happen on stage, that we had to fire up the fans more and make some cooler announcements.

MP: Majk, have you settled in with RUNNING WILD yet?

Majk: Yes, definitely. It wasn't that difficult, since the people are very nice. But I have to say, it was also very short notice; we only had 11 rehearsals before Loreley and only one before the gig in Ludwigsburg. But I feel really comfortable with the group.

MP: Did you come from a band or did you go straight into the professional scene?

MK: I've been a professional for four years now, but more badly than well. I come from North Rhine-Westphalia and played in countless bands there, but it never really took off. I'm a professional, I've been making a living from music for four years, but things are only really getting started now with RUNNING WILD.

MP: Do you think anything will change significantly with RUNNING WILD if you help write the songs?

MK: I don't think so, no, in terms of style, nothing will change significantly. We'll see, I'll probably help write, but which songs make it onto the record will be decided together.

MP: Your wishes for the future, to stay with R.W.

MK: Absolutely! That would be the first and foremost wish, to stay with it and for the band to get off to a good start for all of us.

MP: Then good luck and thank you!

Text & Photos: Thomas

PAPSMEAR (US/NV) (DEATHRASH MAYHEM #4, 1987)

MORDRED (METAL HAMMER #8 VOL.7, 1992)

 

MORPHEUS DESCENDS (US/NY)

 

POKOLGÉP "AZ UTOLSÓ MERÉNYLET" [CONCERT/VIDEO]

 Official live recording released on VHS in 1995 and then on DVD in 2012.

SETLIST

1 Pokoli Színjáték

2 Tovább

3 Pokolgép

4 A Maszk

5 Gép Induló

6 Bon Scott Emlékére

7 Ítélet Helyett

8 Győzd Le A Gonoszt

9 Mennyit Érsz

10 A Jel

11 Cirkusz És Rács

12 A Bűn

13 Itt És Most

14 A Háború Gyermeke

15 Vérszívó Asszony

16 Éjféli Harang

17 Mindhalálig Rock 'N Roll

BETHLEHEM (GER) (DESCENT #5, 1999)

 

VANADIUM (WELCOME TO HELL #4, 1984) < TRANSLATED TO ENGLISH

 'Welcome to Hell' was a fanzine from Italy written in Italian, but here's an interview translated for you.

VANADIUM

Interview with Pino Scotto, June 23, 1984

How did you organize yourselves to promote «Game over»?

We started a sort of tour on the 7th in Milan, at the Rolling Stone. We've already done five dates, and we'll be doing many more... it's tough! Because there's no market for this type of music in Italy, really. And how's it going abroad?

So, Mausoleum took the master of «A race with the devil», and distributed it in countries like Switzerland, Germany, Holland, Belgium... What was the response?

Well, the records are out there, but as far as touring goes, things are going pretty slowly... anyway, since we had problems with Mausoleum, this year for Germany we sold the master to a label that distributes HM and these guys, to show you the difference with Mausoleum who never showed up for two albums, 15 days after buying the master of GO they sent two journalists from the German magazine «Metal Hammer» here to Milan. We did an interview and a photo shoot, and on top of that they wanted to attend our concert at the «Rolling Stone» and they were really shocked! And when they returned to Germany, in addition to the article and the review of the concert they made us a poster and then we received some telexes from the record company with some compliments; and they also told us that they're now trying to organize a tour for us... in short, things are moving pretty quickly, I even think it's about time!

Compared to the first two albums, I think you tried to do something different with GO...

Yes, let's say that we are continuously looking for a... I don't know, you can't even call it evolution... a way of being personal, of having sounds, a fairly personal way of composing, without relying on things that even famous groups, like Whitesnake, Iron Maiden, continue to repeat album after album, but I see that this effort is understood quite well by the public, because they appreciate this continuous research, this way of creating a sound.

Your latest LP has attracted a lot of interest in rock magazines like Rockerilla and Rockstar; however, fanzines, at least for the most part, aren't very appreciative of your music...

Honestly, I want to tell you this first: I see that all these so-called Italian groups are people who continue to copy. I think that there is only one Judas Priest and one Iron Maiden, and it's not worth it to stay there copying, and this is the problem with all Italian groups, I'm sorry to say it, because I want a market for HM to be created in Italy, but as long as there are groups that every time they make songs, they make them like this, like that, we will always be the country of spaghetti and mandolins!!! I believe that the positive reviews we have received in the various "Enfer", "Kerrang", "Metal Hammer" are quite important recognitions!..

But are there any good Italian bands?!??

I definitely think so! I don't know many, but the few I know, like Strana Officina... what pisses me off the most is that there are so many good bands, but they don't make the effort to create their own stuff!

You are very often accused of harking back to the first HM groups of the 70s, is this why with GO you perhaps wanted to demonstrate that you are not tied to certain models?

I'll tell you, we didn't make this IP with the intention of distancing ourselves from the other two; we continued to do our job... I think that Vanadium is a band very tied to R'n'R and Blues, and I care a lot about that!...

Listen, don't you think that the new LP is it a little too commercial? Look, I'm not forcing anyone to think differently. If you tell me that, that's fine, but I'll tell you honestly that when we make a song, we don't think about how much it should sell at all; I mean, if we had to sit there studying things to make them more commercial, we wouldn't make this kind of musical. This album, on the other hand, came out like the other two, really in one go, even though we had more time to compose the songs, to arrange them, for everything, basically, and so it was recorded better, in addition to the fact that we recorded it in a pretty good studio compared to the others...

Many accuse you of not giving much space to Tessarin, unanimously considered one of the best Italian guitarists...

But it seems right to me, in fact I think that we distinguish ourselves from other groups precisely for this reason, in the sense that each one has a space, so we might as well use session musicians! Tell me about your live shows if...

We perform the songs more or less in the same version as the album... but then, at least for me, I enjoy singing differently, because otherwise you'd get bored! Improvisation, however, depends a lot on how the audience responds. Anyway, we're not the type to rehearse various moves and solos in the back room before going on stage!

How did the audience respond to your recent tour?

The dates we've played so far are good, especially in Milan, where we were sold out; the one at the "Teatro Tenda" in Naples was also very good... I think, however, that these concerts should be better organized; they need serious, professional agencies behind them.

OK Pino, thank you very much and goodbye.

Alberto <<Thundergod>>>

 

RITCHIE BLACKMORE OF DEEP PURPLE

 

IRON MAIDEN "BURNING AMBITION" DOCUMENTARY TRAILER

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EXODUS "FORCE OF HABIT" REVIEW (METAL HAMMER #8 VOL.7, 1992)

 

DREAM DEATH ”MORE GRAVEYARD DELVING" ALBUM REVIEW (METAL MANIA, OCTOBER 1987)

LIZZY BORDEN (ASSAULT #2, 1985)

 

URIAH HEEP (1976)

With new bassist John Wetton, the band released the album "Return to Fantasy" in 1975. The recording of the follow-up "High and Mighty" was not completed before the European tour, which reached the Tivoli Concert Hall in Copenhagen on February 14, 1976. Just under six months later, David Byron was fired and Wetton quit.

KEN HENSLEY: You wouldn't believe this is a band about to crash. What a magical live photo from Tivoli! John Wetton with his bass in front of Mick Box, joking around like they used to. David is sprawled out on the floor and his usual attitude. I'm pounding away on my Hammond B3 and Lee is banging on his drums. This was what we did best.

Unfortunately, this was no longer with us every day, it changed from day to day and it was so sad. A lot of it was due to alcohol, lack of interest and our manager and producer Gerry Bron having new interests. His empire was growing and his airline was growing. We were no longer a high priority for him.

Could any outsider see that there were problems within the band?

No, they seemed incapable of it. Besides, we were still selling a lot of records, so one of them could turn around and say: "What's wrong? You're selling millions of records, what's there to worry about?" To me, it was about much more than that. "Where is our credibility? Where is our integrity? ... Anyone can sell a million records, but then they're here today and gone tomorrow. We've been around for so long and this is what we should do to stay around a little longer.

I realize that may sound a bit twisted, but I've always looked at it from that point of view.

I felt the same way when I joined Spice in 1969. For me, it was such an amazing opportunity to finally fulfill my dreams. By the end of 1971, we had done it and were on our way to the top. We got our first gold record and did our first tour in the US, selling out arenas, even as a support act. We were the band that didn't care about anything else but the band. We made sure we gave people what they had come to expect from us.

To be completely honest, we lost all of that. We got caught up in our stardom. In my case, drugs came into play and later alcohol became a very, very big problem in the band. It was almost like the lifestyle thing became more important than what had gotten us there. That's why I got worried about it and complained about it.

I'm not going to absolve myself of responsibility. I'm as guilty as anyone of getting sucked into the rock'n'roll lifestyle. But at the same time, at the very core of my being, I was always the guy who said: Look at what we've done, look at what we've accomplished. Let's not screw it up, let's not throw it away!

Translated to English from Sweden Rock Magazine #11, 2020

VADER (SOUNDS OF DEATH #3, 1993)

TANK (1984)

 

BITCH (US)

 

ARSIN (US/CA) (ASSAULT #2, 1985)

 

JL AMERICA RECORD LABEL AD (1993)

 

DEVASTATION (US/IL) ”A CREATION OF RIPPING DEATH” [DEMO TAPE]

GENRE: Death/Thrash Metal
YEAR: 1986
COUNTRY: US/Illinois

INFO: Devastation from the Chicago area was formed in January of 1986 by drummer Pat Buckley and guitarist Erv Brautigam. The line-up is completed by Frank Ciamoi on bass, and new singer Bill. The demo was recorded with former vocalist Duane Rasmussen, who left to get married. The demo was recorded on May 18, 1986, at Seagrape Recording Studio on 16 tracks.

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Side A

1. Devastation

2. Awaken from Death

Side B

3. Beyond Fear

4. Apocalyptic Warrior

ALVACAST (URY)

 

OLD FUNERAL (NOR)