As they gear up for their highly anticipated
"Bonded By Blood" 40th Anniversary shows and the "Swarm of
Horror" USA headline tour, iconic thrash metal band EXODUS has made a
thrilling announcement. The group is set to release a brand new cover of the
Scorpions' deep cut "He's A Woman - She's A Man," featuring none
other than thrash metal legend Mark Osegueda of Death Angel as the lead
vocalist. This collaboration marks a notable convergence of hard rock and
thrash metal, with two of the genre's most respected acts paying tribute to one
of rock's enduring artists.
In a statement about the cover, EXODUS guitarist Gary
Holt expressed enthusiasm for the project, saying, “We decided to cover one of
our favorite bands of all time a ways back and have been sitting on it until
now, and even better, the one and only Mark Osegueda of Death Angel/Kerry King
collabed with us to sing it, and he crushes it! He is the only guy we knew who
could do Klaus justice. Hope you dig it!”
The track is set to be a highlight for fans attending
their upcoming performances at major festivals such as Sonic Temple, Welcome to
Rockville, and Milwaukee Metal Fest, as well as during their extensive tour
across the USA. With its electrifying energy and a blend of influences, this
cover is sure to resonate with both metal enthusiasts and classic rock fans
alike. Don’t miss out on this formidable combination of talent as EXODUS
continues to push the boundaries of thrash metal while honoring the legends of
rock.
Ένας
ακόμη δίσκος με τον τίτλο του άτυπου Best of...και μάλιστα στη σειρά μετά το
δεύτερο άλμπουμ τους You can't Stop Rock N' Roll, που επίσης είναι ακριβώς στην
ίδια κατηγορία. Μια πιο εμπορική στροφή την παρατηρείς βέβαια, αλλά αν όλα τα
συγκροτήματα της εποχής εκείνης έκαναν τέτοια στροφή, ποιος θα έκανε παράπονά;
Ο Dee Snider φιγουράρει στο εξώφυλλο με τη κοκάλα στο χέρι ντυμένος στα ροζ κι
μαύρα κουρέλια του και βαμμένος σαν κλόουν απ' τη κόλαση (ή σαν γριά με έντονο
μεικαπ, διαλέξετε εσείς τί απ'τα δύο) για νασε προϊδεάσει ότι πλέον η μπάντα είναι υπό τον πλήρη έλεγχο του,
τουλάχιστον στυλιστικά αν κι όχι μόνο! Ύμνοι του U.S. Heavy Metal και Hard Rock
σαν τα αθάνατα We 're Not Gonna Take It με το θεϊκό video που το συντρόφευσε
έκτοτε, το ομώνυμο Stay Hungry, Burn In Hell, το Horror -Teria με τα δύο
μέρητου το Captain Howdy και το
2ο,αγαπημένο σε μένα λόγω των
"κοινωνικών" πεποιθήσεων μου Street Justice, το δεύτερο κλασικό και
σαν video clip τους Ι Wanna Rock, η υπέροχη μελαγχολία της μπαλάντας The Price
, Don't Let Me Down, The Beast μέχρι και το καταληκτικό - ανθεμικό αφιέρωμα
στους οπαδούς τους S.M.F. (για να γλυτώσουν τη λογοκρισία αφού θα πει Sick
Motha-Fuckers!) συνθέτουν σχεδόν το 100% του άλμπουμ που αν δεν τους γνωρίζεις,
θα ήταν το ιδανικό για να ξεκινήσεις με αυτό τη γνωριμία σου με ένα απ' τα πιο
δυναμικά αλλά και πιο αδικημένα σχήματα των 80s.
English:
The top of the iceberg, but from below!
Another album that serves as an unofficial Best of,
following right after their second album, “You Can't Stop Rock N' Roll”, which
falls into that same category. You can certainly notice a more commercial
direction here, but if all bands of that era were making such a shift, who
could complain? Dee Snider graces the cover with a bone in hand, dressed in
pink and black rags, painted like a clown from hell, or perhaps like an elderly
lady with heavy makeup—take your pick! This imagery hints that the band is now
under his complete control, at least stylistically, if not entirely.
Anthems of U.S. Heavy Metal and Hard Rock abound,
including the timeless “We're Not Gonna Take It”, accompanied by the iconic
video that made its rounds ever since, the self-titled “Stay Hungry”, “Burn In
Hell”, and “Horror-Teria”, divided into its two parts: “Captain Howdy” and the
second part, which I adore due to my "social" beliefs, “Street
Justice”. The second classic, complete with a music video, is “I Wanna Rock”,
and then there's the beautiful melancholy of the ballad “The Price”, followed
by “Don't Let Me Down”, “The Beast”, and culminating with the anthemic tribute
to their fans, “S.M.F.” (to evade censorship since it translates to Sick
Motha-Fuckers!). These tracks make up nearly 100% of the album, which, if you
don’t know them yet, would be the perfect starting point to discover one of the
most dynamic yet most underrated bands of the '80s.
In the vibrant and colorful world of 1970s music, few
songs capture the wild spirit of glam rock quite like Sweet's "Hell
Raiser." Released in May 1973, this high-energy anthem burst forth from
the British band known for their flamboyant style and catchy melodies. Sweet,
often simply called The Sweet, quickly became a household name during the glam
rock movement, and "Hell Raiser" is a shining example of their bold
musical identity.
At the heart of "Hell Raiser" is the
creative synergy of songwriting duo Nicky Chinn and Mike Chapman. These two
were instrumental in crafting the sound of an entire era, and their knack for
writing infectious hooks was on full display here. When "Hell Raiser"
dropped, it didn’t take long for it to catch fire. The song skyrocketed to #2
on the UK Singles Chart, capturing the hearts of fans and finding success
beyond British shores. This track wasn’t just another single; it marked Sweet’s
transition into the heart of rock ‘n’ roll.
From the very first gritty guitar riff, "Hell
Raiser" promises a rollercoaster ride of sound. The driving rhythms and
theatrical vocals embody the very essence of glam rock—bold, rebellious, and
unapologetic. Listening to it today, you can almost feel the energy of a packed
arena, where fans are lost in the music, singing along with sheer abandon.
The lyrics are a celebration of chaos and youthful
defiance. They paint the picture of a wild, untamable character—a "hell
raiser" who lives on the edge, challenging conventions and breaking rules.
This theme of teenage rebellion resonates deeply, especially during a time when
many young people sought freedom and self-expression in a rapidly changing
world. It's a little slice of audacity that makes you want to crank up the
volume and let loose.
The magic of "Hell Raiser" didn’t stop with
its original release. The song has continued to echo through the decades,
influencing a slew of musicians and leaving a mark on the heavy metal scene as
well. In fact, two notable bands took it upon themselves to cover this glam rock
gem shortly after its release—one from England and the other from Germany.
In 1981, the New Wave of British Heavy Metal (NWOBHM)
legends put their twist on "Hell Raiser" in their debut album,
"Rock Until You Drop." Their version infused the original with
electrifying metal energy, quickly becoming a beloved hit among heavy metal
fans.
Following in their footsteps, the German band Mad
Axeman also covered "Hell Raiser" in 1984, showcasing their own take
while paying homage to Sweet. With a look reminiscent of Judas Priest and a
sound that mirrored the hard-hitting style of ACCEPT, this cover rounded out
the song’s rock 'n' roll legacy, bridging glam and metal worlds in a way that
felt both daring and natural.
"Hell Raiser" is more than just a catchy
tune; it’s a celebration of the youthful exuberance and rebellious spirit that
defines rock music. Sweet’s ability to tap into those themes resonates just as
strongly today, inspiring new generations of musicians and music lovers alike.
So, if you’re ever in the mood to feel invincible,
turn up "Hell Raiser" and let its powerful, infectious energy take
over. It’s not just a song; it’s an anthem that continues to remind us of the
freedom, passion, and unapologetic attitude that music—at its best—can inspire.
Οι
Σκωτσέζοι ροκάδες, συνεπαρμένοι απ' τα όρια που μπορούν να φτάσουν τη μουσική
τους, ακολουθούν το ρεύμα και στο άλμπουμ αυτό ο ρυθμός είναι συγχρονισμένος με
τα μουσικά ήθη της εποχής. Όταν λέμε ρυθμός όμως εννοούμε ότι η disco έχει
απλώσει τα βρωμισμένα με glitter νύχια της προς τη Hard Rock μεριά. Δεν είναι
οι πρώτοι, δεν θα είναι οι τελευταίοι. Kiss, Thin Lizzy, Whitesnake, Scorpions,
Judas Priest ακόμη κι οι εκκολαπτόμενοι metal ήρωες της ερχόμενης δεκαετίας
Accept θα βάλουν τέτοιες νότες στη μουσική τους στη προσπάθεια να ακουστούν σε
μία περίοδο που το Punk πουλάει αφάνταστα πιο πολύ. Τώρα εδώ πάλι αν δούμε το
εικαστικό μέρος, τα χρώματα που υπάρχουν στον επικών διαστάσεων πίνακα που
κοσμεί το εξώφυλλο όπως κι ηγραμματοσειρά του κλασικού αρχικού λογότυπου τους είναι αξιοπρόσεκτα όσο
κι ο πολεμιστής δαίμονας (οι Thrashers Kreator κόβω το δεξί μου χέρι ότι είχαν
εμπνευστεί τον δικό τους χαρακτήρα - μασκότ απ' αυτό!) που ετοιμάζεται να
χτυπήσει τον αντίπαλο του με φόντο έναν εγκέφαλο!!! Μουσικά δεν θα απογοητευτεί
κανείς. Ο ομώνυμος ταχύτατος disco-rock του δίσκου ύμνος που ανοίγει μπαίνοντας
απότομα, είναι το προοίμιο του τί έρχεται. Shoot Me Down, Revenge is Sweet
συνεχίζουν, Kentucky Fried Blues (εντελώς ειρωνεία ο τίτλος), New York Broken
Toy, Place in your Heart, All the King's Horses δε θα απαγορεύσουν κανέναν κι
ας κυριαρχεί ο (χορευτικός) ρυθμός παντού!
English:
Relentless Rhythm.
The Scottish rockers, captivated by the boundaries
their music can reach, ride the wave, and in this album, the rhythm is
synchronised with the musical trends of the time. When we mention rhythm, we
mean that disco has stretched its glitter-covered claws toward Hard Rock.
They’re not the first, and they certainly won’t be the last. Kiss, Thin Lizzy,
Whitesnake, Scorpions, Judas Priest, and even the emerging metal heroes of the
coming decade, Accept, will incorporate such notes into their music in an
effort to be heard during a time when Punk is selling significantly better.
Now, if we take a look at the visual aspect, the
colors present in the epic cover art, along with the font of their classic
original logo, are as striking as the warrior demon (I bet my right hand that
the Thrashers Kreator were inspired by this character for their own mascot!)
getting ready to strike its opponent against a backdrop of a brain! Musically,
no one will be disappointed. The speedy, disco-rock anthem that shares its name
with the album opens abruptly, serving as a prelude to what’s coming. Tracks
like "Shoot Me Down," "Revenge is Sweet," "Kentucky
Fried Blues" (irony in the title), "New York Broken Toy,"
"Place in Your Heart," and "All the King's Horses" won’t
deter anyone, even though the (danceable) rhythm dominates everywhere!
The dark symphonic force GODIVA returns with an
all-new visual chapter from their acclaimed album "Hubris." The band
unveils the music video for "All Seeing Eye," a haunting and visually
intense journey that delves deep into the core themes of surveillance, control,
and the collapse of self-awareness.
Shot with a cinematic scope that reflects the grandeur
of the song, the video for "All Seeing Eye" blends the band's
signature orchestral darkness with symbolic storytelling and stunning imagery.
Once again, GODIVA proves that their visual identity transcends their
music—this is a fully immersive sensory experience.
"'All Seeing Eye' is about the illusion of
omnipotence and the blindness it brings," says [Mantis], frontperson of
GODIVA. "It captures the arrogance of believing one can see and control
everything—until that very gaze turns inward, and everything collapses."
This release marks yet another milestone in GODIVA's
relentless push for "Hubris," an album that has taken them on a
journey across Europe with fiery performances and an ever-growing legion of
lost souls. Expect the unexpected.
When you think of heavy metal, names like Metallica
and Iron Maiden might spring to mind, but there's one band that has woven
itself into the fabric of rock history: Judas Priest. What’s intriguing is how
the band came to have such a striking name—it's a nod to none other than folk
legend Bob Dylan and his haunting song “The Ballad of Frankie Lee and Judas
Priest,” from the 1967 album “John Wesley Harding”.
The song tells a poignant story of two friends,
Frankie Lee and Judas Priest, whose lives spiral downwards due to a mix of fate
and folly. Frankie borrows money from Judas, squanders it, and falls into
despair—a tale of temptation and betrayal that resonates deeply. The title,
with its rhythmic and evocative quality, stuck with the members of the band
long after they first heard it.
Founded in 1969 in Birmingham, England, Judas Priest's
journey wasn't a straight shot to fame. In the wake of tragedy—namely the
untimely death of their guitarist John Perry—the remaining members—vocalist Al
Atkins, bassist Bruno Stapenhill, and guitarist John Partridge—found themselves
at a crossroads. They needed a name that not only felt right but also resonated
with their musical vision. That’s when Stapenhill suggested “Judas Priest,”
inspired by Dylan's evocative lyrics. It felt fresh, impactful, and
essentially, it just sounded cool. With their manager, David Corke, registering
the name, the identity of one of metal's most iconic bands was born.
About “The Ballad of Frankie Lee and Judas Priest"
Dylan recorded “The Ballad of Frankie Lee and Judas
Priest” in a single take at Columbia Studio A in Nashville on October 17, 1967.
The song’s placement on “John Wesley Harding” marked a significant shift in
Dylan's artistic direction, moving away from his electrifying past to embrace a
more stripped-down, folk-oriented sound. The lyrics are layered with meaning,
taking the listener on a journey that explores themes like temptation, loss,
and the unpredictable nature of life. Some fans speculate that it reflects
Dylan’s own experiences within the music industry and his personal
relationships, adding another layer of depth to the song.
Its influence has certainly held up over the years.
Dylan performed the song live around 20 times between 1987 and 2000, a
testament to its staying power and his affection for the story within the
melody.
Conclusion
The story behind the name Judas Priest is a beautiful
snapshot of how art can inspire creativity across genres and generations. What
started as a gripping tale in a folk song transformed into a name that would
represent a band that revolutionized heavy metal. It’s a reminder that music is
a powerful connector, one that links different worlds together—be it the
emotive storytelling of folk or the explosive energy of metal.
The legacy of Judas Priest continues to be felt today,
and it’s fascinating to think that a simple song title could have such a
monumental impact on rock history, proving that creativity knows no bounds.
Οι
Δανοί αυτοί έχουν υπάρξει αγαπημένο συγκρότημα κατά τη δεκαετία του '90 και στο
ελληνικό κοινό. Μία απ' τις αιτίες είναι αυτό εδώ το δισκάκι που (μας) τους
έμαθε περί τα μέσα της δεκαετίας. Ο κλόουν στον καθρέφτη σαν τίτλος λέει πολλά
για τον ίδιο μας τον εαυτό (περίπου όπως το LookAtYourself των UriahHeep) και σαν δίσκος, πραγματικά αξίζει
πολλά κι πολύ. Όντας η δεύτερη κυκλοφορία του συγκροτήματος, είναι μια
σταθεροποίηση στο ύφος και στο μουσικό στυλ που θα ακολουθήσουν με ακόμη πιο
γνωστά άλμπουμ σαν τα MovingTarget, Paradox κ.α. στο μέλλον. Λιγότερο prog με τη στενή έννοια αλλάπολύ πιο πιο ..."Queenικό" όσον αφορά τη πολυφωνική
απόδοση των φωνητικών, ίσως πιο Rock
αλλά και φορτισμένο από τα πλήκτρα που παίζουν μεγάλο ρόλο μουσικά εδώ σε σημεία
παρά καθαράMetal, έχει μερικά πολύ κλασικά κι αγαπητά
κομμάτια. Τίτλοι όπως Wasted
Time, On The Run, Ten To Life, το μελαγχολικόClown in the Mirror, Legion of the Damned, Here Today Gone Tomorrow,
Epilogue είναι ιδανικά δείγματα αυτού του συνόλου κομματιών.
English:
Before they became completely progressive.
These Danes have been a favorite band among the Greek
audience during the '90s. One reason for this is this particular record which
introduced us to them around the mid-decade. The title "Clown in the
Mirror" speaks volumes about our very selves (much like Uriah Heep's
"Look At Yourself"), and as an album, it truly deserves a lot of
praise. Being the band's second release, it represents a solidification of the
style and musical direction they would follow with even more well-known albums
like "Moving Target," "Paradox," and others in the future.
While it’s less progressive in the narrow sense, it’s much more “Queen-like” in
terms of vocal harmonies; perhaps it leans more towards rock but is also
enriched by the keyboards, which play a significant role in the music, rather
than being purely metal. It features several classic and beloved tracks. Titles
such as "Wasted Time," "On The Run," "Ten To
Life," the melancholic "Clown in the Mirror," "Legion of
the Damned," "Here Today Gone Tomorrow," and
"Epilogue" are ideal examples from this collection of songs.
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