RATT – THE ATLANTIC YEARS: 1984-1991

 

You could certainly make a valid argument that the two top metal subgenres to emerge during the ‘80s were hair/glam metal and thrash/speed metal. And one of the most popular and successful bands of the former category was Ratt – whose hook-heavy melodic rock and spandex-y make-up look resulted in the band (whose classic line-up was comprised of singer Stephen Pearcy, guitarists Warren DeMartini and Robbin Crosby, bassist Juan Croucier, and drummer Bobby Blotzer) duking it out with the likes of Mötley Crüe, Poison, and Bon Jovi on the charts, on MTV, and on metal mag covers.

And with the genre having enjoyed a nostalgic surge in popularity as of late (look no further than the popular Def Leppard/Mötley Crüe/Poison stadium tour), what better time than now to collect all of Ratt’s best LP’s as part of a new box set, The Atlantic Years: 1984-1991

EXTREME GUITARIST NUNO BETTENCOURT - "I ALWAYS TRY TO USE THE SOLO TO ELEVATE THE SONG BEFORE WE COME BACK DOWN TO THAT LAST HOOK"

 

In the clip below, Guitar World's Andy Aledort talks to Extreme's Nuno Bettencourt about soloing and touring for Extreme's first new album in 15 years, SIX.

Bettencourt on constructing his guitar solos

"I see the song - let's use 'Rise' for example - and within the song I see another song. So, instead of a traditional solo where it's like, 'Hey dude, let it just rip and fucking solo,' I see it as, how do I tell another version, how do I go another gear into the song? I think about it always within the song, and it could either help or hurt the song. I always try to use the solo to elevate the song before we come back down to that last hook

Steve Harris revela “faixa obscura” do Iron Maiden que gostaria de tocar ao vivo

Depois de “Alexander The Great”, o baixista citou outra música com potencial para os shows





Iron Maiden possui uma extensa lista de músicas nunca apresentadas ao vivo. Depois da aguardada estreia de “Alexander The Great” na Future Past Tour, que viaja pela Europa atualmente, Steve Harris revelou qual faixa lado B gostaria de tocar em shows.




Com quatro décadas de carreira, a banda já lançou 17 álbuns de estúdio, por isso é natural que muitas faixas “obscuras” nunca tenham sido incluídas em nenhum setlist. Em recente entrevista à Metal Hammer, o fundador do Maiden citou outra faixa quase nunca executada que seria sua escolha pessoal para shows.

“Há algumas faixas que seriam legais de resgatar de vez em quando, eu suponho. Eu acho que ‘Only The Good Die Young’ é uma música muito boa e que seria legal de tocar”, contou à revista.

A música “Only The Good Die Young” é a oitava e última do álbum Seventh Son of a Seventh Son, de 1988. Na conversa com a Metal Hammer, Steve Harris afirmou que a banda já tocou essa faixa “algumas vezes”, mas isso não consta nos dados reunidos pelo Setlist.fm e tampouco existem registros dessas performances no Youtube.

“Seria legal tocar essa, talvez. É um pouco mais uma daquelas músicas obscuras. Mas sabe como é… O que você deixaria de fora [dos shows]?! Esse é o problema. Tantas músicas, tantos álbuns”, explicou.

Por fim, Harris ainda comentou os critérios para incluir (ou não) uma música nos shows do Iron Maiden. “Isso pode ser muito direto e brutal, mas não fazemos isso pelo público. Fazemos isso pelo nosso próprio interesse primeiro. Temos que nos sentir confortáveis com o que estamos tocando e aproveitar, e então esperamos que os fãs gostem. Essa sempre foi nossa posição até o fim. Não fazemos um censo de ‘Oh, será que todos gostam disso ou daquilo?’, ou algo assim.

HAMMERFALL – CRIMSON THUNDER (20 YEAR ANNIVERSARY EDITION)

 

The Swedish Templars are again diving back into the past with the 20 Year Anniversary Edition of their Crimson Thunder album. Originally issued on October 28, 2002 via Nuclear Blast – yes it’s technically the 21st anniversary – HammerFall had forged their popularity with Renegade, but Crimson Thunder started what was considered a downturn for our Swedish warriors.

Included on the 3CD edition is a remix/remaster by Fredrik Nordstrom, unreleased pre-production tracks, a live medley (as heard throughout the band’s North American jaunt with Helloween), live acoustic tracks from an album release show, plus the whole live album One Crimson Night.



Turning the hammer back for a re-investigation – Crimson Thunder rings with force that relies a bit much on mid-tempo stompers, but HammerFall brings their anthemic, sing-along anthems with perhaps their most popular song “Hearts On Fire” and the outstanding title track. “Riders Of The Storm” hits the right marks and while is a strong cut – doesn’t work best as an album opener

DRAGONHEART: CONFIRA O MAIS NOVO SINGLE “DRAGONHEART’S TALE”

Um dos grandes nomes do Heavy Metal Nacional, a Dragonheart vem se preparando para quebrar um hiato de 8 anos sem álbuns de estúdio, com o lançamento do esperado “The Dragonheart’s Tale”, programado para 25 de agosto, através do selo Rockshots Records. Dentro desse processo, disponibilizaram no último dia 15 de junho, o single da poderosa faixa-título, onde o ouvinte vai se deparar com o já conhecido Power Metal da banda, com guitarras pesadas, bons riffs, melodias envolventes e um vocal forte. Tudo que um fã do estilo pode esperar.

https://www.youtube.com/watch?v=cWTALcyView

PHIL COLLEN LOOKS BACK ON VIVIAN CAMPBELL, ADRIAN SMITH AND JOHN SYKES AUDITIONING FOR DEF LEPPARD FOLLOWING STEVE CLARK'S DEATH

During a June 16th press conference at Hellfest 2023 in Clissono, France, Def Leppard guitarist Phil Collen told eonmusic that, following the death of guitarist Steve Clark in 1991, that Iron Maiden's Adrian Smith was one of the guitarists invited to audition as Clark's replacement.

Collen: "We invited five people we knew, five friends, and Vivian (Campbell) just fitted in straight away. It was like it was meant to be. Adrian's great, he's a great singer, and that was one of the other things (we were looking for); if you can sing. There were some other people. We played with John Sykes (Whitesnake, Thin Lizzy, Blue Murder), also an amazing player, amazing singer, but Vivian's voice was just unbelievable, but more than that, he just fit in the style of what we do.

There was only five people; we didn't do casting calls or anything like that. It was still a bit painful after losing Steve, to be totally honest, so we wanted someone who emotionally, we could work with as a family member, and Viv did, straight off the bat."

VESUVIAN - EMERGENCE

 

After a couple of EPs dating back to '17, here comes the full-length debut from Seattle dual guitar (no bass) quintet, who offer both male/female vocals within a catchy mix of so-called melodic death. Ever wonder what Johan Hegg (Amon Amarth) would sound like, fronting Dark Tranquillity? Well these nine cuts answer the question, in a positive fashion. When they drop to subtle dynamics (less gruff, and/or female accompaniment) there's even a fleeting Evergrey moment or two. Regardless of touchstones, the influences are top notch and certainly non-American. Shame most of their potential audience lays half way around the world.

Spacey, sporadic keys and symphonic instrumentation introduce the titular opener, but the calm is not indicative of the storm that will follow. Shortly thereafter, a forceful, speedy, but bouncy, melody commandeers the speakers. Headbanging and toe tapping at the same time! Lapping waves greet "Seas Of Grey". A gong, to announce the next round and like a hyped up boxer, Vesuvian come out of the neutral corner delivering a riffing barrage, on "Grief Drinkers" (great title!). Still an orchestral undercurrent beneath the Gothenburg delivery. Slight punk energy/urgency to kick off "Sunless Dreams", before one of those big Evergrey momentum changes. Don't worry, the vehemence and gurgling vox will return before its 4:04 has expired. There's even a dual a cappella vocal mid-section.



Majestic start-stop "Architects Of Ruin 1: Indoctrinate" is next, followed by single/video "On Cursed Sands", which has an upbeat feel and showcases all the elements found throughout the disc: violin, female backing voice, gruff/shrieking, speed and infectious beats. A fine, albeit abbreviated synopsis of Vesuvian works. "Writing Folktales" reshuffles the deck, female voice to the fore, with just a hint of the usually dominant gruffness (courtesy of RJ Mitchell). The "In The Gallows At The Edge Of The World" finale starts rather hypnotically, violin and well-spaced piano notes, before returning to the aggro Vesuvian calling card.