Courtesy of Kjetil Gjøen
METAL ARCHIVIST & OLD SCHOOL METAL HEAD … OBSESSED WITH HEAVY * THRASH * DEATH * BLACK * DOOM * HARD ROCK *
Sunday, April 19, 2026
TOMMY ALDRIDGE'S LEGENDARY DRUM SOLO (1973)
A drum solo from Tommy Aldridge, the legendary drummer. Here with Black Oak Arkansas, but for us, the Metal audience he is mainly known for playing with numerous bands and artists since the 1970s, such as Ozzy Osbourne, Gary Moore, Whitesnake, Ted Nugent, Thin Lizzy, Vinnie Moore and Yngwie Malmsteen.
From the Uploader:
Today, we journey back to 1973, to witness a televised performance of Black Oak Arkansas's song "Up", featuring a drum solo by the legendary Tommy Aldridge. This performance stands as a testament to Aldridge's groundbreaking drumming style and his significant contribution to the evolution of rock percussion.
🔹 The Performance: In this 1973 broadcast, Aldridge delivers a drum solo that is both technically proficient and emotionally charged. His use of double bass drums, a technique he helped popularize, is on full display, showcasing his ability to blend power with precision. This performance not only captivated audiences at the time but also influenced countless drummers in the years to follow.
🔹 Tommy Aldridge & Black Oak Arkansas: Aldridge joined Black Oak Arkansas in the early 1970s, marking the beginning of his rise to prominence in the rock world. His tenure with the band was marked by extensive touring and recording, during which he honed his craft and developed the unique style that would define his career.
🔹 Why This Performance Matters: This particular performance is significant as it captures Aldridge at a pivotal moment in his career. His innovative approach to drumming, characterized by the use of double bass drums and a high-energy playing style, set a new standard for rock drummers. This performance serves as an early example of his influence on the genre.
*Pioneering Technique: Aldridge's innovative approach to double bass drumming set a new standard in rock, influencing countless drummers who followed.
*Televised Impact: Being broadcasted in 1973, this performance brought Aldridge's groundbreaking style into living rooms across the nation, expanding his influence beyond live venues.
*Career Catalyst: This solo helped cement Aldridge's reputation, leading to collaborations with major acts like Ozzy Osbourne, Whitesnake, and Thin Lizzy
Saturday, April 18, 2026
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THRUST (US) (1983/84)
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| (from L to R): Price Sowers (bass), Ron Cooke (guitars), John Bonata (vocals) and C.B. Sebastian |
REPUGNANT (SWE) (2001)
Repugnant in the rehearsal room at Enskede Gård, Stockholm, Sweden in the fall of 2001, a few months after the group's second demo "Draped in Cerecloth" was released: drummer Thomas "Tom Bones" Daun, singer and guitarist Tobias "Mary Goore" Forge, guitarist Johan "Sid E Burns" Wallin and bassist Gustaf "Carlos Sathanas" Lindström.
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JUDAS PRIEST "SIN AFTER SIN" ALBUM ART
"Sin After Sin" was the follow-up to their second album, "Sad Wings Of Destiny". The cover, which seems at first like your run-of-the-mill graveyard artwork, is actually the mausoleum of Colonel Alexander Gordon, who was killed at the battle of Waterloo.
“The only sin here is that we have gone our entire lives as Priest fanatics yet we have never seen these photos – until now!” writes Monte.
“We all thought the Sin After Sin cover painting was created from scratch, but in reality it was based on an actual photograph of the Gordon Mausoleum, built in 1910 for Colonel Alexander Gordon, located on the grounds of Putney Vale Cemetery in London.
I just learned of this myself recently when Bob Mayo (of thrash legends, Wargasm) unearthed this amazing find – the first photo you see below.
“The cover was the work of the late British photographer Bob Carlos Clarke, who (along with Hipgnosis) pioneered the process of taking black and white photographs and then airbrushing them with colored inks for the final result.
Another key figure involved in the cover’s creation was Rosław Szaybo, the Polish painter and photographer who served as the European art director of CBS Records from 1972 to 1988.
In addition to his art direction on Sin After Sin, Szaybo also designed the covers of Stained Class, Killing Machine (known in the U.S. as Hell Bent for Leather) and British Steel (apparently, that is Szaybo’s own hand you see gripping the razor blade on the cover!).
He also created the diagonal Judas Priest logo that debuted on Stained Class and is still in use today with only minor modifications.”
/ Courtesy of Kerrang & The Metal Realm
“The only sin here is that we have gone our entire lives as Priest fanatics yet we have never seen these photos – until now!” writes Monte.
“We all thought the Sin After Sin cover painting was created from scratch, but in reality it was based on an actual photograph of the Gordon Mausoleum, built in 1910 for Colonel Alexander Gordon, located on the grounds of Putney Vale Cemetery in London.
I just learned of this myself recently when Bob Mayo (of thrash legends, Wargasm) unearthed this amazing find – the first photo you see below.
“The cover was the work of the late British photographer Bob Carlos Clarke, who (along with Hipgnosis) pioneered the process of taking black and white photographs and then airbrushing them with colored inks for the final result.
Another key figure involved in the cover’s creation was Rosław Szaybo, the Polish painter and photographer who served as the European art director of CBS Records from 1972 to 1988.
In addition to his art direction on Sin After Sin, Szaybo also designed the covers of Stained Class, Killing Machine (known in the U.S. as Hell Bent for Leather) and British Steel (apparently, that is Szaybo’s own hand you see gripping the razor blade on the cover!).
He also created the diagonal Judas Priest logo that debuted on Stained Class and is still in use today with only minor modifications.”
/ Courtesy of Kerrang & The Metal Realm
SARCÓFAGO (OLD SCHOOL METAL MANIAC #6, 2013)
An interview from the best old school metal magazine that's still releasing print issues. It's a real beauty in full color. Please support them! Check them out here: oldschool-metal-maniac.com/eng/index.php
Check out the magazine here: oldschool-metal-maniac.com/eng/index.php
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Friday, April 17, 2026
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Thursday, April 16, 2026
WARRANT (GER) (METAL POWER #4, 1985) < TRANSLATED
Metal Power was a fanzine from Germany written in German, but here's an interview translated to English for you.
M.P.: Jörg, how did the lineup change in the band come about?
J.J.: It was primarily due to playing issues. Our drummer had some sort of problem with his arms, so we couldn't play any gigs without risking problems with him, and that was really shitty. There were musical disagreements with the guitarist that we couldn't and wouldn't accept. In one respect, he was also fed up with making money and all that.
H.P.: Can we expect stylistic changes from WARRANT now?
J.J.: It definitely won't stay the same style. I mean, that was already apparent with "The Enforcer" LP, where we tried to introduce new concepts into our music. It will probably all sound a bit more commercial, since we want to slow down the speed. But there will still be decent guitar parts, like there have been so far.
M.P.: Why did you get new management?
O.M.: The old one was simply too unprofessional for us, plus they lacked the necessary contacts and ambition. It was just a friendly arrangement because we couldn't find a proper manager at the beginning. So, of course, not much came of it, and in the end, we had to arrange everything ourselves—the two gigs we've played so far, and everything else that goes with it
M.P.: You've often been accused of sounding like RUNNING WIRD. What do you say to that?
J.J.: That's absolute nonsense! I would never let myself be influenced by them, because then we might as well just copy PRIEST. That would eliminate any chance of achieving anything later on.
O.M.: Independence is our goal, and that will be reflected on our next album. Okay, we kind of got swept up in this trend, but you're always evolving, so you don't even like the old songs anymore. Now we've reached a point where the old songs don't offer us anything anymore. The new material has a significantly higher musical potential.
M.P.: Is there a special meaning behind your album covers?
O.M.: Well, I'd say the interpretation of it doesn't really mean anything (laughs). They were more like stopgap covers. But this will definitely change in the future. Currently, the covers are still printed on the T-shirts, but not anymore starting with the next album.
M.P.: How is "The Enforcer" selling?
J.J.: As far as I know, quite well. We recently met with Karl Walterbach from NOISE Records, and the sales figures were around 7,000. I can't say more than that.
M.P.: Do you think you can survive as group?
O.M.: I don't know what the others think about it, but I don't think we'll have a meteoric rise to 100%. Therefore, we have to try to win people over with the music. It's clear that we won't have much say in the matter when the next LP is released
M.P.: Are any concerts planned soon?
J.J.: Yes, we're doing a few gigs in Belgium first, and then we'll participate in various competitions, which are more like test concerts since we still need to properly gel with our new lineup. After the LP is released early next year, we want to go on tour immediately so people can experience our new sound right away.
M.P.: Has the record company approached you with any plans in this regard?
J.J.: Yes, we'll probably tour with Grave Digger. There wasn't much initiative from the record company at first, but now you can tell they want to involve us more.
M.P.: Okay, that's it! Thanks for the interview.
Interview: Karsten, Jörg, Frank Editing: Karsten & Frank.
WARRANT
M.P.: Jörg, how did the lineup change in the band come about?
J.J.: It was primarily due to playing issues. Our drummer had some sort of problem with his arms, so we couldn't play any gigs without risking problems with him, and that was really shitty. There were musical disagreements with the guitarist that we couldn't and wouldn't accept. In one respect, he was also fed up with making money and all that.
H.P.: Can we expect stylistic changes from WARRANT now?
J.J.: It definitely won't stay the same style. I mean, that was already apparent with "The Enforcer" LP, where we tried to introduce new concepts into our music. It will probably all sound a bit more commercial, since we want to slow down the speed. But there will still be decent guitar parts, like there have been so far.
M.P.: Why did you get new management?
O.M.: The old one was simply too unprofessional for us, plus they lacked the necessary contacts and ambition. It was just a friendly arrangement because we couldn't find a proper manager at the beginning. So, of course, not much came of it, and in the end, we had to arrange everything ourselves—the two gigs we've played so far, and everything else that goes with it
M.P.: You've often been accused of sounding like RUNNING WIRD. What do you say to that?
J.J.: That's absolute nonsense! I would never let myself be influenced by them, because then we might as well just copy PRIEST. That would eliminate any chance of achieving anything later on.
O.M.: Independence is our goal, and that will be reflected on our next album. Okay, we kind of got swept up in this trend, but you're always evolving, so you don't even like the old songs anymore. Now we've reached a point where the old songs don't offer us anything anymore. The new material has a significantly higher musical potential.
M.P.: Is there a special meaning behind your album covers?
O.M.: Well, I'd say the interpretation of it doesn't really mean anything (laughs). They were more like stopgap covers. But this will definitely change in the future. Currently, the covers are still printed on the T-shirts, but not anymore starting with the next album.
M.P.: How is "The Enforcer" selling?
J.J.: As far as I know, quite well. We recently met with Karl Walterbach from NOISE Records, and the sales figures were around 7,000. I can't say more than that.
M.P.: Do you think you can survive as group?
O.M.: I don't know what the others think about it, but I don't think we'll have a meteoric rise to 100%. Therefore, we have to try to win people over with the music. It's clear that we won't have much say in the matter when the next LP is released
M.P.: Are any concerts planned soon?
J.J.: Yes, we're doing a few gigs in Belgium first, and then we'll participate in various competitions, which are more like test concerts since we still need to properly gel with our new lineup. After the LP is released early next year, we want to go on tour immediately so people can experience our new sound right away.
M.P.: Has the record company approached you with any plans in this regard?
J.J.: Yes, we'll probably tour with Grave Digger. There wasn't much initiative from the record company at first, but now you can tell they want to involve us more.
M.P.: Okay, that's it! Thanks for the interview.
Interview: Karsten, Jörg, Frank Editing: Karsten & Frank.
TRIBUTE TO DARKTHRONE [BY MAXIME TACCARDI]
Maxime Taccardi: Darkthrone tribute I did with my blood almost a decade ago
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AT WAR (US) (OLD SCHOOL METAL MANIAC #6, 2013)
An interview from the best old school metal magazine that's still releasing print issues. It's a real beauty in full color. Please support them! Check them out here: oldschool-metal-maniac.com/eng/index.php
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