Are the rumors true? Has Chuck Schuldiner gone..... power metal?
YES! Chuck, as many of you know, was the leader of DEATH, who
jump started the metal form known as "death metal" back
in the early 80's. Creating the original "true growl"
that most death bands use today, Chuck and his ever shifting bands
line-up inspired legions of musicians to play brutal metal. Chuck,
however, has a wide range of tastes; after years of writing ground
breaking material within the constraints of what is known as "death
metal", he has decided to end DEATH and start anew, with
a proper vocalist. Unfortunately, while the music is all written
(and a preproduction album recorded), there is still no singer.
The original WINTERS BANE vocalist was with CONTROL DENIED for
a spell, but his commitments to his own band (WICKED WAYS) pulled
him away. Nonetheless, Chuck will come through, it's just a matter
of time. Catching Chuck in mid-sentence, we begin with - what
else? - heavy metal. Due to the length of this interview, esteemed
typesetter Natalie Vlahovic deleted nearly every mention of the
word "definitely" - sorry Chuck!
.....Like I said, Ace Frehley, Yngwie, and the players from
MERCYFUL FATE as well, they're a great guitar team. I always
loved that double axe attack. IRON MAIDEN as well, major infulence
on the leads. As a lead player, I just thought MAIDEN were like
butter. Their leads were flowing, just smooth. That really blew
my mind. They did a lot for me.
you think of their new album?
I am crushed and angered, I must say. It's MAIDEN's end,
I am just so angry. When I heard that, we were in Europe. It
was the Symbolic tour. I ran out to the store; I got
the double-vinyl release of it. I bought the CD of it. I am
just thinking, man it's going to crush, and I'm sorry, I just
expected so much more from that band.
the last MAIDEN you liked?
The last MAIDEN I liked... gosh... there were a couple of decent
things on Fear of the Dark, but I lost hope at that point.
For me, as a fan of that band, I felt like they lost their hunger.
I think that no matter what type of music you're involved in,
if you lose the hunger for it, you're going to lag. I think
it's like that with anything in life that you do. If you lose
the desire, and that thing inside of you that keeps you pissed
off or whatever, as a musician, I think, man, I'll hang it up
when I lose that. I'll know when I lose it. I won't put it out
for other people to hear it. For me this new MAIDEN, the singer's
just nowhere near where I thought they were gonna go. I'm a
big fan of Bruce Dickinson as well as Paul Di'anno, who was
also a killer singer. I just waited so long for that record,
and now I'm disappointed. Everyone I know... when we listened
to it, we were all crushed. I'm sad: I really am. Maybe in the
future they'll get Bruce back. I just don't hear any range whatsoever
with the new guy, and that's what Bruce is about.
did an interview with Steve Harris and I told him that, but
Steve is happy with the album...
Harris' and Blaze Bayley's favorite IRON MAIDEN album is the
same one, it's Seventh Son of a Seventh Son. That's my favorite
Yeah, that's a great record. Blaze for me just isn't what I
A lot of
people have said that.
But maybe live he will surprise me, who knows?
he did pretty well live. I saw him up here in New York, except
sound-wise Harris' bass was overpowering. You could not hear
It's kind of like that in the record. The guitars are very subtle.
That's another thing about the record. It didn't jump out. You
throw on Number of the Beast, men... look out. Crushing
- you did Scream Bloody Gore... you did Leprosy, which I liked,
I thought it was Dan Johnson's influence that made the album
great... he worked on it...
Yeah, he did.
know what he did and how he worked with you, but some of the
songs on there are so catchy. It's almost like a power metal
album with growly vocals.
Yeah. Back then, I was trying to get that out, definitely. Dan
was a great person to work with. That's what appealed to me
about Dan; he worked with really cool bands, really great productions
back then. I wanted that for our music. I wanted him to bring
out all the stuff that was going on in our music. It was great.
He was a great guy to work with... actually made people really
look twice, because it was a very produced album for back then,
but raw... at the same time, we triggered the drums, so that
was like high-tech step for us. I think it showed Dan definitely
lent a big hand in that, bringing out the clarity of it.
you use him again?
Actually, we were going to, but unfortunately, Dan got out of
producing a short while after that and went into other sorts
of stuff. I think he went into doing something in the electronics
field. So, unfortunately, we weren't able to work with him again.
We had hooked up with Scott Burns who had worked with us on
Leprosy. That was one of Scott's first records. It was
cool how we hooked up.
a big fan of Scott's work. Why go with Scott instead of Jim
Back then, we had built a relationship after knowing Scott through
Leprosy. Scott's a very cool person to work with, and
we just immediately got on well with him. We were like, 'how
would you like to do the next record with us', and we told him
what we were looking for and that we wanted to clean it up,
but keep it really heavy. Scott definitely has the same goal
in mind, so we decided to work together and Spiritual Healing,
I thought, was a risky record causing a lot of people to go,
'whoa, this is a pretty tidy sounding record,' but that's what
I wanted to go for, to get more in your face. I feel like there
were a lot of productions out there getting lost, and working
with Scott enabled us to achieve what Spiritual Healing
was. I was very happy with that at the time, so we just built
a relationship on Spiritual Healing. That album did really
well for us. A lot of people started taking us more seriously,
which made me really happy. I was always really serious about
the music. And it's the name 'DEATH', people were kind of like,
'oh, they're just another death metal band.'
ever feel that in some point in your career, the name 'DEATH'
held you back, or were you annoyed with the name 'DEATH'? Take
the band SATAN... it's like, you know... SATAN!
Yeah, that's even worse than DEATH ! Yeah, sure I am. When the
name came about, I was 18, and naturally when the music started
evolving and the name kind of was the chain and ball, and the
weight attached to the end of the whole thing. With the vocal
style, that went along with DEATH in the beginning. I couldn't
change it very much. I definitely tried to evolve and have the
words come out better because the lyrics are very important
to me. I want people to know what I'm saying, but with conviction.
Towards the end, I felt like I wanted the music to take off,
but I've got to do something a little different here, which
I've planned to do for the past few years, and I've tried to
make it public. I've talked about it three years back in Guitar
World... kind of picture of a highway, and I'm kinda veering
off to the left with the main road in sight. That's the way
I like to look at it, so people couldn't freak out and go, 'uh
oh.' With the whole thing, I felt a little trapped towards the
end. I feel like the fans have grown with the band and have
accepted the evolving of the music, and everyone that's been
with me this far is going to really enjoy the new record as
well. No disappointment here.
no labels lined up?
Right now, there's actually already been some interest. I'd
like to give names, but once again, I'm not supposed to. We
will definitely put out press releases as soon as something
European, Japanese, American...
There 's some Japanese, there's some American, and Europe is
going to be another story. This is so early in the game that
it amazes me how there's already been inquiries coming into
our office via fax from labels saying, 'hey, we heard this is
going on. We want to hear it,' so that psyches me out even more.
me, I've been talking it up a bit with friends of mine and in
phone calls from readers, and they're all excited about it.
First of all, you've got a great sound, and you can all play
your instruments, and great production on Symbolic. Symbolic
is like the perfect jump off point, and Symbolic really crossed
over with all the power metal fans I've talked with. It's like
SENTENCED-North From Here, and CARCASS-Heartwork; these are
all big crossover albums.
expanded. I thought they were really going for what they wanted
to. I was like, 'right on.' I supported them all the way on
that one. They were big-time traditional metallists, and people
will be shocked how many people are. What's great is that I
think it's going to come back full circle very soon. I'm going
to be there, man. I haven't given up on metal at all, going
on 12 years in the band situation, as a fan... and I'm not about
to right now. Some bands do not have to turn grunge in order
to get notices. We're one of them. I'm one of those people that
will not turn grunge to satisfy the... whatever.
in the early eighties, you were a pioneering this special form
of music, and you see yourself again just, in America anyway,
leading the way.
I would like
to hopefully think of myself as pioneering something that's
going to be fresh and that's going to, hopefully, make a difference.
This is very serious to me. I spend a lot of time... I live
sleep, eat, and breathe music and do think it's going to show,
just like the other members of CONTROL DENIED. I'm being very
careful with putting the band together as far as finding the
right people so far. It's gone really smooth. Everything is
falling into place. I think with all these same things in mind
that we all have, it's just all ready from the stuff we've demoed
off. It's quite explosive. It's something I want people to hear
as soon as possible. I've got that antsy feeling, that I want
to get this out and get playing out there to Japan, which was
one of the greatest experiences of my life. Japan was incredible.
That's another place I want to go to real soon.
You've been there...
... just once recently for Symbolic.
and you were blown away...
It is the heavy metal
capital of the world. There is no competition. It's like when
you go to Japan, you're in a time warp. Metal is massive. It's
so hard to comprehend. You walk into record shops in a department
store... very commercialized, and you see this insane heavy
metal that's available, like SILVER MOUNTAIN. In a department
store! I felt like I was in a dream!
I tried to control myself, but I ended up bringing back some
valuable things back with me, some really rare SILVER MOUNTAIN
stuff. So that, for me, was a dream come true. I've wanted to
go there since I saw this picture of KISS in Japan, and I always
thought, 'wow, that looks like an incredible place to play.'
So being there was just mind-blowing. The shows were just incredible.
How many shows?
We played four shows, and two of them were in the same venue
in Tokyo, and they were just phenomenal.
people do you think?
One night, there was close to 2000 people for the shows in Tokyo,
and the last night we played there, it was sold out. I'll tell
you what... you'll talk about natural high, just that feeling...
I was living it. I appreciated every moment I was there, looking
out, being on stage, knowing where I was. The vibe, the expression
on people's faces out there... they're so die hard. The vibe
is nothing but friendliness. This warm, good vibe out there,
which I miss in music, in heavy metal. Just that positive thing.
of gets tiring in the States to go to a show, and all the people
want to do is to a rough each other up.
as a musician have to deal with people getting on stage and
knocking you down. I'm sure that's happened to you a few times.
You go to Japan, and the people just concentrate on the music.
Like you said, sounds great! I can't wait to go myself.
You will not return! You will not want to! It's great. It was
a life-changing experience.
possibly make you say, "I've got to do power metal!"
Once you go into something with more melodic vocals, the venues
start getting bigger.
That would be great, definitely. That's funny, because when
we were there, I was already working on material that we are
using now. Riffs and stuff we have on tape. A couple of times,
people have said that they could hear Symbolic with proper
vocals. I thought the same thing. I've been thinking the same
thing for a while. It was always in the back of my mind with
Symbolic. There were several guitar harmonies that I
put down that I wasn't able, being my type of vocal style, to
put the melodic stuff in there, so actually some of the melodies
guitar-wise are vocal melodies I would have had, if there was
a melodic singer in the band. Actually that's where a lot of
melodies started coming out. My frustrations of not being able
to put that through the vocals, and also my love for melodic
things as well. My guitars definitely helped me along the way
to get that melody out, and in return, that's definitely what
separated DEATH from a lot of other stuff. I got brought down
eventually by not expanding, and the melodic part of DEATH is
what has helped keep our heads above the water, so to speak.
your favorite DEATH album?
I would say Symbolic, hands down... I think it's just
got a lot of ingredients from day one, heavy double-picking
approach that is a key ingredient of DEATH, as well as the melodic
stuff, and I just feel that the album is more rounded. I had
a lot more time to work on the songs. Actually, all of that
record was written revolving around an 8-track recorder that
I had purchased and that really helped me expand as a guitar
player. Symbolic really took off after I got that 8-track
and was able to start demoing stuff at home.
CONTROL DENIED material that you are preparing right now, is
that done in a studio, or is that using your own 8-track?
It's up to a 24-track now, so it's full on demoing stuff at
that you're making right now is being done at home. When do
you think it's going to be finished and ready to be shopped
Well, actually, the only thing that's holding us back from shopping
it around is the lead vocals. Everything's done. All the leads
are arranged, all the leads, all the rhythms, bass, master,
final drum tracks for the demo tape. I've got it mixed, and
it's just sitting here waiting for that final element to occur.
It's exciting not knowing who's going to be on there. It's so
close, yet it's so far away. So, it's just going to be a waiting
game right now. As soon as we have the vocalist in mind, we'll
put the vocals down here at home. There's people waiting to
hear it. I am definitely getting antsy.
you do find the vocalist and you do get the deal, will you use
Yes, definitely I will use Morrisound, and Jim Morris as well.
combination, you can do some magic.
I feel that way too, and honestly, I feel like some really good
things can happen. They did with Symbolic, and with CONTROL
DENIED, it's like some barriers are being broken down, and they
will continue to do so, especially with Jim behind the project.
He opened up a whole new sound on Symbolic. The material
was alive, and that's the way I want this to be as well. Real
in your face, and in Symbolic, I just wanted to plug
in my guitar and play. I didn't want to fool around with the
squishing and squashing it with technology. That's basically
the attitude we went in with, and Jim really likes things to
remain natural, and the same thing with CONTROL DENIED. Same
aspect, same concept. I want people to know it's people playing
instruments, and not technology, or that we've been sitting
in the studio for two years doing guitar tracks. I definitely
consider myself the perfectionist as far as wanting to take
time on things, but it can get quite ridiculous if you sit in
there for two years or a year. You get an artificial-sounding
album. I want to get back to the roots of the essence of just
getting in there and recording. At home, I have free reign to
do that with the stuff I'm recording now, and I'm trying to
expand my studio at home, and eventually I'd like to open up
a small studio in my home town down here in Orlando, and work
with bands locally, which I've already started doing since I've
got the 24-track board.
starting up this little studio. Do you make a living off of
Barely. It's getting really crazy, I would love to be able to
expand and do stuff on the side, because you can't always rely
on the industry to support you. It's a very just demented business
to be in. You don't see money all the time. I get really scared
sometimes of how things are going to work. We're self-managed.
We do everything ourselves in that respect, it's a big responsibility.
It's very expensive, as well, because being self-managed, you
incur expenses first-hand. For Symbolic, we had to finance
it ourselves. Same thing with Individual Thought Patterns.
was on Combat....
Yeah, Relativity/Combat. It
was totally self-financed. It's amazing how barely things get
by. They always end up working out some way.
license Symbolic to Roadrunner, or was it just a one-off deal?
That was actually done through Relativity handing over the option.
Actually, Symbolic was an option through Relativity,
and they made a deal with Roadrunner to release it, and Roadrunner
in return hardly did anything for it in America at all. It suffered
immensely because of people not knowing how to promote it here.
That really pissed me off, and I took that very personally.
a shame that they promoted the hell out of TYPE O NEGATIVE and
MACHINE HEAD, and DEATH just kind of sat there.
We got stepped on. It was sick. It was the most important record
in my life at the time. I put a lot of personal stuff in that
ever work with Roadrunner... well, Relativity is now a rap label,
but will you ever work with those two companies again?
Never, ever ever ever...
So, are you looking towards Metal Blade or Century Media?
Yeah, I'm looking at certain labels on that level as well as
ANGEL are on a major...
Well, actually they just got dropped...
But they were on a major, and that is pretty damn extreme stuff.
It's going to come down to whatever label can treat us right.
And I just want people to know about this music. I don't want
this to get thrown under the mat. If people don't like it, cool,
but if they like it, great, but they have to hear it in order
to have that choice. That is something I've never had. I've
never been given that actual full-scale push. I just want it
one time in my life, so I can say the chance, and I either succeeded
with it or it didn't work. Until then, I'll never know, and
that kind of bothers me deep inside, definitely. Hopefully with
CONTROL DENIED, someone's going to look at this and go, 'wow,
something's happening here. Let's push this. Let's give this
a chance.' Try to give this a chance and try to make a difference
in metal. If the label would see that, it would be a really
cool thing. I'm not giving up. I believe in this 100%, and someone's
going to see it.
Oh, absolutely. I have total confidence in the
whole project, and I can't wait until the day when I'm holding
the disc in my hand.
I appreciate it.
you come up with CONTROL DENIED? What's the meaning behind that?
Absolutely control being denied, just the way the industry thinks,
the control it puts on you, control meaning controlling the
direction your music may go in, or the direction your career's
going to go in. This is a scratch type of thing. I'm not on
a label right now. Things are going to be done differently this
time around. I'm not that 18 year old kid who signed a contract
without knowing anything. I'm going to make sure my arse is
covered, and the music and the fans don't suffer from it as
well. People wonder sometimes why bands all of a sudden are
just gone. As a fan, I often wonder that... you know, 'what
happened to that band?' A lot of bands end up breaking up because
they're crushed by what the industry does to them. This is a
band that's not going to get crushed. I'm not going to get crushed
again. I'm going to have the chance, because things are being
done right. Things are a million miles opposite of what they
were when I was 18. This is a full on force, with the legal
backing that it needs, and protection I didn't have back then,
and the music suffered because it was never pushed properly.
People had that control, and like I said Symbolic, in
my opinion, was shit on, and that hurt me. That definitely is
a hard feeling to describe other that hurt, that, 'wow, someone
just gave me the run-around, because I was told that the record
was going to get pushed and get the full treatment that they
knew I wanted.'
some interviews, and you were saying that, too.
They had me going big-time. It's sickening and it's just not
right. There are so many aspects of the industry that treat
people like dirt. If I can make a difference in some way to
tell people look be careful, lend some advice, I will do so.
That's another reason I would just like to expand, get a studio
eventually, go into something where I can work and make a difference,
treat people good and also feel good about what I'm doing. There's
a lot of studios around here locally that are... I'm hearing
a lot of horror stories about bands spending a lot of money
and getting ripped off in the studio and I'd like to open up
a studio for bands on small levels, and eventually big (levels).
great. That sounds like how Morrisound started.
That's why Morrisound is so great, because they have got that
outlook that immediately drew me to that whole vibe. They treat
people with respect. They do their utmost to try to give the
band the best they can. And that comes back, because you always
hear nice things about them. you leave feeling good, and that's
important. Especially in such a negative form of business that
we're in, as a band. When you're treated good, you really appreciate
it. You leave going, 'cool, that's a great memory, I'll leave
holding on to that one.' You've just gotta stay positive, and
I'm definitely going to keep going forward full force.
are some songs titles?
The tentative title for the record is The Moment of Clarity.
That's, I think, going to end up being the title. Also, a song
called "What If", another song, "Cut Down to
Size". I always write the music first and apply the titles.
I usually have a master list of titles and then I listen to
the music and apply the titles to the music that it seems like
it goes along with.
got song #1, song #2...
Yeah, now we're starting to label them. The songs essentially
have names now. It's the process I've always used. Music's always
been the first thing.
have you thought about delving into historical themes, fantasy,
science fiction, or mythological fiction, or anything like that?
Well, I think that stuff's definitely cool. I'm a big fan of
a lot of that stuff lyrically. For me, I've got so much stuff
going on inside that I feel like it's a great source to get
out stuff that I'm thinking about that I can tie in with the
music on that first-hand personal basis. The basis of it was
lived. I'll tell you what, it's been really exciting, because
I was always kind of taking a chance when I started doing that,
because there were some people that said, 'uh oh, what's up,
he's not writing scary lyrics, anymore', but for me it felt
great. All of a sudden I started seeing mail come into the fan
club, and people were like, 'man, that one song I can really
relate to. I really felt that way too', and as soon as I saw
that, there was a connection going on here. I've talked to people
who have contemplated suicide, and they've read the lyrics,
and they related to it... I can get deep about some stories
about people who have read the lyrics and have been inspired
by it, and that's mind-blowing for me. I never intended to do
that. I was just expressing my honest emotions. I'm pretty damn
honest within the lyrics. People can read a lot into Chuck's
life in a very big way. I think a lot of people do realize that,
and they write in, or I'll see people on tour and they'll tell
me, 'hey, man those lyrics are pretty deep, they seem like they're
painful. I've felt that pain', because life's not perfect. When
you're in a band, I feel like everyone else does. I have my
moments when I feel like I'm on top of the world, and other
moments when the world's on top of me. Depression, happiness.
We're all in that whole same fishbowl, so to speak. So, music
had always been a great release for stuff that's inside of me,
and the music and lyrics, when they intertwine, it's a good
feeling. Symbolic was just, I guess, symbolic of what
was going on at the time.
It sounds like everything's going to remain the
same except for the vocals.
Yeah pretty much. Like I said, people are going to hear a lot
more stuff going on with the guitars, it's a very active record.
I'd like to say it that way.
wait to hear it.
Hopefully as soon as possible I promise, definitely.
Shannon... (last name unknown)
Vocalist-big question mark
Your video is on MTV, and some cartoon characters
are surrounding it. How do you feel about that?
I thought it was pretty... I don't know... At first, I had mixed
reactions... it was like, what the hell... but then, I'll tell
you what, a lot of people saw that, and whether it's good or
bad publicity, a shitload of people saw that, and it's crazy.
I ran into people recently from high school, and they were like,
'man, I saw you on Beavis and Butthead.' It was funny, people
from all over were seeing DEATH when they normally really would
not have known about the band by choice. They had no choice.
I definitely don't regret it being on there.
"The Philosopher" off of Individual Thought Patterns.
do anything for Symbolic?
No videos. We couldn't get the video support.
videos have you done?
A video for "Lack of Comprehension" which is off of
Human. That was on MTV a big old two times. That's it
as far as official video.
are on that Ultimate Revenge?
Unfortunately. Unfortunately Revenge. It's just hideous,
not a good representation... none of the bands were happy with
None of them were.
If you talk to any bands, they will say, 'burn your copy.' I
encourgae people to hold a big bonfire of Ultimate Revenge
videos and go sick.
wrong with the whole thing?
The schedule, you had no time for anything. It was very unorganized
as far as that goes. All of this elaborate equipment, but the
camera angles were stupid. They could've been better. The mix
was really bad, and they had all this equipment. They should
have hired someone who knew how to mix. It was really not good.
The vibe was just not here. I think the members had more fun
just partying after, honestly. It was great, a lot of people
in the audience seemed to have fun, and that's what ultimately
you like the first Ultimate Revenge?
It was OK. I could tell that one was cheesed out too. There
was an unprofessional vibe going on there. If a label is going
to release something, make it pro. I've heard a lot of complaints
even from those bands back then about that whole fiasco. They're
both done through the same label. I don't think that's a coincidence.
So what are you listening to now?
A lot of older stuff still. Actually, some stuff from Japan
I got. SABER TIGER, a band from Japan who are just phenomenal.
They're progressive melodic metal. Definitely progressive with
one of the greatest female metal vocalists of all time. Just
incredible, and I'm pretty picky about that. I'm not into the
LITA FORD mod. This chick... LITA FORD should hide. This chick
has such a voice; it is insane. She is belting it out, man.
There's no bubblegum rock. It's just unfortunate that a lot
of people will not hear this band. It's available in Japan only.
I was fortunate to have the connections and someone sent it
to me. Definitely incredible. They are like a less progressive
DREAM THEATER. They concentrate a little more on repeating,
a formula... DREAM THEATER's a great band, don't get me wrong,
but this band is not as complex as that, which is good in some
cases, because people get thrown off form that at times. I totally
dig that stuff. They have two records out, and their guitar
player has a solo record out in Japan. Another band, actually
ULI ROTH, who has a record out in Japan exclusively. His record
is just phenomenal. I think ULI is one of those guitar players
who gets really ripped off and never really gets the recognition
he deserves. The only recognition I think he ever got was when
he was with SCORPIONS back in the 70's. His new record is insane.
He's actually conducting a lot of orchestra stuff on his record
and intertwining that with his guitar work. If anyone gets a
chance to hear him, they'll know where Yngwie got all his licks
from. Absolutely, that is the reality of that one. ULI is just
incredible. Actually, the cover painting of the first ULI ROTH
album was called Rising Force. YNGWIE's first band was
called YNGWIE's Rising Force and so it's really coincidental
there! Definitely, YNGWIE is a great guitar player and took
his inspirations well.
beginning he took it well. I don't know about his last few.
Yeah, exactly, but those were two new things that I've been
checking out on a constant basis, as well as Number of the
Beast. I was cranking that yesterday. WATCHTOWER, their
first album, Engergetic Disassembly, Piece of Mind. I
was kind of having a MAIDEN festival for a couple days here.
be your Top 5 of all time?
Definitely I would have to say Destroyer by KISS... let's
say KISS-alive 1 actually; let's change that, Number
of the Beast - great record, there are so many great early
MAIDEN albums, but that's definitely a special record, definitely
memories. MERCYFUL FATE-Melissa, what a masterpiece...
you think of the last two MERCYFUL FATES?
I enjoyed the second one better that the first one. It's kind
of like they're more settled into their style that they used
to have. The second one was good, the first one didn't sound
like it had the energy going. It was a little held back I think.
Probably, they haven't played in a long time together as a band,
so I think it probably took a record to get that part going.
But I definitely enjoyed them.
I enjoyed that as well. I thought that was a really good record.
Andy's awesome, another guitar player that has not been given
the recognition he deserves.
would be something if you could get him to play along with in
Yeah, now I was actually considering getting Andy, because that's
the type of style I want to get into the band as far as the
lead player, with that conviction, speed, and melody all mixed.
What I really dug about Shannon, was that he really had similar
approach in the respect of the progressive but traditional approach,
the up-to-date, but yet you know where the roots are coming
from. So Andy was a little... things were preventing that, actually.
For one, finances, like I said. Right now I'm not on a label,
so I don't have the support from the label to get Andy down,
but definitely he was one of the people I considered contacting,
and started thinking, 'man, i needed a guitar player who's going
to be able to be here on a full time basis.' Luckily, I had
a feeling, that if I let people know I'm looking around, word
will get out soon enough through Chris. Ironically that's where
I met Shannon. It went great, and hopefully this weekend we're
going to hook up and jam again and the rest can be history.
I hope so.
of all time.
I never finished that... it's so hard to say, there are so many
essential records out there, especially from the early 80s.
Probably Kill Em All-METALLICA, magic. That was magic.
That's another one that inspired the whole double-picking thrash,
aggressive metal thing. I was just eating that up. METALLICA
had that killer rhythm going back then. That's what really appealed
to me as well. Definitely blew my mind. Show No Mercy-SLAYER,
another record all around the same era all within the same year
of each other.
do you like Show No Mercy in comparison to their later work?
One of their peaks for me was Hell Awaits. They were
in their prime. That's when they were listening to a lot of
MERCYFUL FATE as well. I remember reading interviews before
they recorded Hell Awaits, and they were like, we are
listening to a lot of MERCYFUL FATE and stuff like that, and
you can tell that record man, with some of those riffs, they
got that demented MERCYFUL FATE style going on... a lot of Melissa,
which inspired me as well. Naturally Reign in Blood is
killer, but Hell Awaits was when they were really really
hungry, when they were on top of it. That was a pretty complex
album. there were some trippy things going on for back then
rhythm-wise definitely. Show No Mercy was naturally the
first official thing I heard by them when it came out, so that's
really what blew my mind. Haunting the Chapel was incredible
as well. It's another life-changing record at the time. That
was some of the early stuff that gave me that push. ANVIL as
another big band. Metal on Metal was just phenomenal.
Forged in Fire another great record.
that's a good one.
See, all that stuff... I was just blown away. Everyone had their
own style. That was what was so intriguing. EXCITER-Heavy
Metal Maniac, another crucial record that inspired me. That
album was so raw. It just... there was no stopping it. It was
so heavy. Definitely.
what happened to them.
It's sad they screwed up. They put out a wimpy record and pissed
well thank you very much.
No problem, it was good talking to a fellow metaller of the
past, especially a fellow HELSTAR fan.