ANTHRAXLYRICS

album: "Fistful Of Metal" (1983)

Deathrider Metal Thrashing Mad I'm Eighteen Panic Subjugator Soldiers Of Metal Death From Above Anthrax Across The River Howling Furies

album: "Spreading The Disease" (1985)

A.I.R. Lone Justice Madhouse S.S.C. / Stand Or Fall The Enemy Aftershock Armed And Dangerous Medusa Gung-Ho

album: "Armed And Dangerous" (1985)

Armed And Dangerous Raise Hell God Save The Queen Metal Thrashing Mad (live) Panic (live) Soldiers Of Metal Howling Furies

album: "Among The Living" (1987)

Among The Living Caught In A Mosh I Am The Law Efilnikufesin (N.F.L.) A Skeleton In The Closet Indians One World A.D.I. Horror Of It All Imitation Of Life

album: "I'm The Man" (1987)

I'm The Man (Censored radio version) I'm The Man (Def uncensored radio version) Sabbath Bloody Sabbath I'm The Man (Extremely Def I'll uncensored version) Caught In A Mosh (live) I Am The Law (live)

album: "State Of Euphoria" (1988)

Be All, End All Out Of Sight, Out Of Mind Make Me Laugh Antisocial Who Cares Wins Now It's Dark Schism Misery Loves Company Finale

album: "Penikufesin" (1989)

Now It's Dark Antisocial Friggin' In The Riggin' Parasite Sects Pipeline

album: "Persistence Of Time" (1990)

Time Blood Keep It In The Family In My World Gridlock Intro To Reality Belly Of The Beast Got The Time H8 Red One Man Stands Discharge

album: "Attack Of The Killer B's" (1991)

Milk (Ode To Billy) Bring The Noise Keep It In The Family (Live) Starting Up A Posse Protest And Survive Chromatic Death I'm The Man '91 Parasite

Pipeline Sects Belly Of The Beast (Live) N.F.B. (Ballabnikufesin)

album: "The Sound Of White Noise" (1993)

Potters Field Only Room For One More Packaged Rebellion Hy Pro Glo Invisible 1000 Points Of Hate Black Lodge C11H17N2O2SNA (Sodium Pentathol) Burst This Is Not An Exit

album: "Black Lodge" (1993)

Black Lodge (Black Strings mix) Black Lodge (Tremelo mix) Black Lodge (Mellow To Mad mix) Love Her All I Can Cowboy Song

album: "Hy Pro Glo European Tour Souvenir Disk" (1994)

Hy Pro Glo (edit) London Room For One More (live)

album: "Stomp 442" (1995)

Random Acts Of Senseless Vilence Fueled King Size Riding Shotgun Perpetual Motion In A Zone Nothing American Pompeii Drop The Ball Tester Bare

album: "Nothing" (1996)

Nothing Dethroned Emperor

Remember Tomorrow No Time This Time

album: "Fueled" (1996)

Fueled Watchin' You Celebrated Summer

album: "Volume 8: The Threat Is Real" (1998)

Crush Catharsis Inside Out P&V 604 Toast To The Extras Born Again Idiot Killing Box Harms Way Hog Tied Big Fat Cupajoe Alpha Male Stealing From A Thief Pieces

album: "Return Of The Killer A's" (1999)

Bring The Noise Only Potters Field (Hypo Lyxa Hermes Pan Remix) Ball Of Confusion Crush Room For One More Inside Out Hy Pro Glo (Hy Pro Luxa Mix) Fueled Among The Living Got The Time Indians Antisocial I'm The Man (Edited Version) Madhouse I Am The Law Metal Thrashing Mad

album: "We've Come For You All" (2003)

Contact (Intro) What Doesn't Die Superhero

Refused To Be Denieded Safe Home Anyplace But Here Nobody Knows Anything Strap It On Black Dahlia Cadillac Rock Box Taking The Music Back Crash Think About An End We've Come For You All

album: "Taking The Music Back" (2003 MCD)

Taking The Music Back Ghost Exit Next To You

album: "The Greater Of Two Evils" (2004)

Deathrider Metal Thrashing Mad Caught In A Mosh A.I.R. Among The Living Keep It In The Family Indians Madhouse Panic I Am The Law Belly Of The Beast Efilnikufesin (N.F.L.) Be All, End All Gung-Ho Anthrax Lone Justice In My World

ANTHRAX
TARTAREAN DESIRE WEBZINE DATA
ORIGIN STYLE STATUS LABEL LAST UPDATE : : : : : New York, New York, USA Thrash metal Active Nuclear Blast 2004-03-05

BIOGRAPHY

Anthrax was formed in 1981 in New York, USA. They were managed by Johnny Z (Jon Zazula), head of the indie label Megaforce Records and in 1984 they released their debut album called "Fistful Of Metal". They band underwent several line-up changes with the members going on to form other bands with a similar thrash metal sound. With increasing popularity Anthrax signed with Island Records in 1985 (actually Megaforce merged with Island but remained as the label name). In the early days they were a rather traditional 80's metal band but they soon developed their unique and groundbreaking speed/thrash metal sound which made them one of the biggest American thrash metal bands alongside Metallica and Megadeth. In 1993 they signed a new deal with Elektra, a label owned by the gigantic Warner Corporation which they again left in 1996 since they didn't care enough about the band. Between 1996 and 1999 they were signed to Ignition Records but they went out of business since their distributor didn't want anything to do with them any longer. In April 2001 Anthrax signed a new deal with the major German metal label Nuclear Blast for their new album. The band name Anthrax is a cow desease which they had read about in biology class. MEMBERS Charles "Charlie" Benante 1981- Drums See also H Dsker, S.O.D.. Scott Ian Rosenfeld John Bush 1981- Guitars 1993- Vocals See also Doom Squad, S.O.D.. Also a producer. See also Armored Saint, Doom Squad, Ho Cake, Ken Baumgartner.

FORMER MEMBERS

John Connelly

1981-1981 Vocals

See also Nuclear Assault, Nuclear Theory, Rite Bastards. See also World Bang.

Kenny "Ken" Kushner 1981-1981 Bass Paul Kahn Dave Weiss Greg D'Angelo Greg Walls Dan Lilker Neil Turbin Matt Fallon Joey Belladonna Dan Spitz Frank Bello 1981-1981 Bass 1981-1981 Drums 1981-1983 Drums 1981-1983 Guitars Guitars, 1981-1984 bass 1981-1984 Vocals 1984-1984 Vocals 1985-1992 Vocals 1983-1995 Guitars 1984-2004 Bass

See also Cities, White Lion. See also Brutal Truth, Exit-13, Hemlock, Holy Moses, Nuclear Assault, The Ravenous, S.O.D.. See also Bloodlust, School Of Hard Knocks, Turbin. See also Belladonna, Bible Black. Owns a watch/jewelry shop. Brother of Dave Spitz of Black Sabbath. See also Helmet.

ADDITIONAL MUSICIANS Paul Crook Guitars Session member since 1995. See also Sebastian Bach. Session member 1995-1997. See also Human Waste Project, Powerman 5000.

Mike Tempesta Guitars

DISCOGRAPHY 1984 1985 1985 1987 1988 1990 1991 1993 1995 1998 1999 Fistful Of Metal Armed And Dangerous (EP) Spreading The Desease Among The Living State Of Euphoria Persistence Of Time Attack Of The Killer B's Sound Of White Noise Stomp 442 Volume 8: The Threat Is Real Return Of The Killer A's Megaforce Megaforce Megaforce Megaforce Megaforce Megaforce Megaforce Elektra Elektra Ignition Beyond

2003

We've Come For You All

Nuclear Blast

Anthrax Biography: Nearly as much as Metallica} or Megadeth, Anthrax was responsible for the emergence of speed and thrash metal. Combining the speed and fury of hardcore punk with the prominent guitars and vocals of heavy metal, they helped create a new subgenre of heavy metal on their early albums. Original guitarists Scott Ian and Dan Spitz were a formidable pair, spitting out lightning-fast riffs and solos that never seemed masturbatory. Unlike Metallica or Megadeth, they had the good sense to temper their often serious music with a healthy dose of humor and realism. After their first album, Fistful of Metal, singer Joey Belladonna and bassist Frank Bello joined the lineup. Belladonna helped take the band farther away from conventional metal clichs, and over the next five albums (with the exception of 1988's State of Euphoria, where the band sounded like they were in a creative straitjacket), Anthrax arguably became the leaders of speed metal. As the '80s became the '90s, they also began to increase their experiments with hip-hop, culminating in a tour with Public Enemy in 1991 and a joint re-recording of PE's classic "Bring the Noise." After their peak period of the late '80s, Anthrax kicked Belladonna out of the band in 1992 and replaced him with ex-Armored Saint vocalist John Bush -- a singer that was gruffer and deeper, fitting most metal conventions perfectly. Subsequently, their sound became less unique and their audience shrank slightly as a consequence, and after signing to Elektra for 1993's Sound of White Noise, the group left the label after just one more album, 1995's Stomp 442. At that point, Anthrax -- now a four-piece consisting of Ian, Bush, Bello, and drummer Charlie Benante -- built their own studio in Yonkers, NY, and after a three-year hiatus returned with their Ignition label debut The Threat Is Real, Vol. 8. 1999 saw the release of Anthrax's very first "hits" collection, titled Return of the Killer A's: The Best Of, also their first release for the Beyond label. The album included a cover of "Ball of Confusion," which featured a duet between current frontman Bush and former vocalist Belladonna. A proposed tour that was to include both vocalists was announced, but on the eve of its launch, Belladonna pulled out, reportedly for monetary reasons. The tour carried on, as Anthrax signed on to participate in a package tour during the summer of 2000 with Mtley Cre and Megadeth, but left the tour after only playing a handful of dates. Anthrax appeared on the Twisted Sister tribute album Twisted Forever in 2001 (covering the track "Destroyer"), and began recording their next album the same year. In addition, guitarist Ian found time to regularly host the metal television program Rock Show on VH1, plus he appeared as part of the fictional metal band Titannica in the film Run, Ronnie, Run. VH1 programming heads eventually replaced Ian with Sebastian Bach, but the band was ready to head back into the studio anyway. New guitarist Rob Caggiano joined in the spring of 2002, just in time for the recording. A year later, Anthrax made their Sanctuary debut with We've Come for You All. The band's dynamic hadn't changed, and touring in support of that album was met with overwhelming success. The CD/DVD set Music of Mass Destruction: Live in Chicago, which arrived in spring 2004, celebrated Anthrax's two decades in the business. Then, in 2005, Anthrax's entire original lineup of Ian, Spitz, Belladonna, Benante, and Bello reunited for a tour and the CD/DVD retrospective Anhtrology: No Hit Wonders [1985-1991 Anthrax also issued {Alive 2, recorded during their summer 2005 reuninon tour. Stephen Thomas Erlewine Greg Prato, All Music Guide
Group Members: Greg Walls Charlie Benante Paul Crook Matt Fallon John Bush [More >>] Similar Artists: Metallica Megadeth Influenced By: Motrhead Black Sabbath Run-D.M.C. Venom The Sex Pistols [More >>] Followers: Body Count Cannibal Corpse

Slayer Living Colour Sabbat [More >>]

Biohazard Acrophet Panic [More >>]

1984-1985 Ottawa, Canada. Jeff Waters meets John Bates, singer and lyricist. Bates andsome of his friends gets Waters into heavier music (Slayer, Venom, Metallica, Exodus) than Waters is used to listening to (ACDC, Kiss, Priest, Maiden, Van Halen). Bates and Waters record the song "Annihilator" in a local studio with Waters playing all instruments, including drums. The two of them find bassist Dave Scott. Even without a drummer, the band took "promo" fotos and had demo cover artist Rob Lange stand-in for the missing "drummer". Shortly after, drummer Paul Malek is found. Guitarist's Myles Rourke and Joe Bongiorno are briefly "in" the band but neither work out. Bongiorno guitar techs for the band months later. The 4 rehearse in Malek's mother's clothing store's basement and eventually record the band's first demo "Welcome To Your Death". The band play their first shows in Val D'Or, Quebec. After parting ways with drummer Malek, Annihilator jam briefly with Quebec drummer Richard Death (yes, Death!). After that brief stint with Death, the band go their separate ways and Waters continues Annihilator. 1986 Waters records the 2nd Annihilator demo, again with Paul Malek on drums, but this time with Waters on guitars, bass and vocals. The demo was titled "Phantasmagoria" and became one of the top 5 most-traded/most-popular demos in metal of all-time. 1987 After a 3rd demo (all three demos featured mostly songs that would eventually end up, in some form, on an Annihilator album), nottitled and released only to some radio shows, Waters gained enough interest in his band to get record deal offers and an offer from a manager in Vancouver. After believing the promises of this manager (?!?), Waters packed up and moved to Vancouver, Canada (the most incredibly beautiful place one could live, by the way!). Waters met drummer Ray Hartmann and the two of them began jamming to the demo songs, preparing to record the first album. 1988 Waters (and Hartmann) entered a local demo studio and began the slow process of recording what would be the debut "Alice In Hell".

Working late-nights and whenever time was available, with longtime Annihilator friend and engineer Paul Blake, Waters finished up most of the guitar and bass tracks, meanwhile auditioning singers for the record. 1989 Eventually Waters chose ex-DOA punk legend/bassist Randy Rampage to sing on the recordings. 2 vocal parts were kept from auditioning singer Dennis Dubeau and a few of John Bates' vocal screams were "flown in" from the WTYD demo. Waters found bassist Wayne Darley from Victoria. Numerous guitarists were auditioned for the 2nd guitar slot. Casey Taeves was trying out for the band when label Roadrunner Records wanted a band foto shoot. So Annihilator had him stand-in for the shoot. He didn't make the band. The final position was down to two guys: Anthony Greenham and Dave Scott Davis (no relation to Dave Scott). Again, a foto session was requested but this time for the album back cover and sleeve. We got Greeham in the shot. Then the band was asked to shoot their first video for the title track "Alison Hell" and still had not chosen the 2nd guitar slot. Greenham got the call for the video but Davis ended up eventually joining the band! Greenham went on to later guitar tech for Waters in 1993 and most recently was a key crew member for the band Nickelback. Annihilator's hugely successful debut Alice In Hell is released. Annihilator's vocalist leaves the band, before the end of a USA/CAN tour with Testament, citing not wanting to lose his seniority at his job in Vancouver. Rampage is asked to leave after this. 1990 1991 Roadrunner A and R guru Monte Connor suggests ex-Omen vocalist Coburn Pharr. Waters, Pharr and Hartmann record the Never, Neverland cd. Surpasses even sales of Alice In Hell and the band attains more success and even more sold-out touring. Guitarist Dave Davis is not taken on final tour for this album, Waters plays the Judas Priest Painkiller Europe support slot as a "one-guitar" lineup. Pharr leaves the band after this tour. 1992 Pharr returns and is joined by Boston guitarist Neil Goldberg. Pharr leaves again. Vancouver vocalist Aaron Randall joins the band. Ray Hartmann leaves the band. 1993 Goldberg suggests soon-to-be drum legend Mike Mangini. Waters, Randall, Goldberg and Mangini record Annihilator's 3rd album, "Set The World On Fire", in Vancouver, Canada. Also on drums for three songs (hell bent for leather, sounds good to me, snake in the grass)

is former drummer Ray Hartmann and drummer Rik Fedyck drums on the song "Phoenix Rising". This line-up (with Mangini and bassist Wayne Darley) tour Europe and then Goldberg/Mangini leave. Mangini goes on to play with Extreme. Annihilator find drummer Randy Black and guitarist Dave Davis returns. A tour in Japan is scheduled but bassist Wayne Darley could not get into the country so was let go. Dave Davis quickly learned the bass parts and the band toured Japan with only Waters on guitar again. This 4-piece line-up continued and did a short USA tour as well. 1994 1995 Randall leaves the band and Waters/Randy Black record the King of the Kill cd. Waters plays all instruments and takes on vocal duties. Bassist Cam Dixon joins up and Dave Davis returns to the guitar. Very successful touring follows for this cd, including European and Japanese tours. Dixon leaves after the Japan tour. 1996 Waters/Black/Davis record the "Refresh The Demon" (5th studio) cd. Black quits the band only weeks before the Demon Europe tour is to begin. Waters finds Victoria drummer Dave Machander and Lou Budjoso on bass, Dave Davis still on guitar. 1997 New cd "Remains" recorded entirely by Jeff Waters. No touring. 1999 2000 Randy Rampage, Ray Hartman and Jeff Waters record "Criteria For A Black Widow". Bassist Wayne Darley is asked by Waters to return but declines citing health reasons. Russell Bergquist is added on bass and the band does two tours/trips to Europe. The second trip sees the legendary Rampage being asked to leave again. Waters plays the last show of this tour both as singer and guitarist. 2001 New York native Joe Comeau joins Annihilator as vocalist. Waters, Hartmann and Comeau record 8th studio release "Carnival Diablos". Bassist Bergquist and guitarist Davis join Waters/Hartman/Comeau and a tour in Europe follow. 2002 Randy Black returns on drums with Comeau on vocals and Waters playing guitars/bass. The trio record "Waking The Fury" and, along with Bergquist and new guitarist Curran Murphy, tour Europe and Japan as well as record "Double Live Annihilation"

2003 Comeau replaced by Vancouver singer Dave Padden. Summer festival tours follow with Black, Waters, Murphy and Bergquist. 2004 Waters, Padden and returning drum-God Mike Mangini record the 10th studio release "All For You". A 2nd European stint, supporting Judas Priest again, sees bassist Sandor De Bretan and drummer Rob Falzano team up with Waters/Padden/Murphy. 2005 Waters and Padden join with Ottawa native Tony Chappelle on drums to record the 11th studio cd "Schizo Deluxe". Jeff Waters Comments (on most members) and other rants

John Bates Paul Malek Dave Scott Ray Hartmann Paul Blake Randy Rampage Wayne Darley Dave Davis Coburn Pharr Mike Mangini Aaron Randall Neil Goldberg Randy Black Cam Dixon Lou Budjoso Dave Machander Russell Bergquist Joe Comeau Curran Murphy Dave Padden Sandor De Bretan Rob Falzano Tony Chappelle

It has been just over 16 years since the release of the critically-acclaimed, debut masterpiece, "Alice In Hell". 20 tours, 10 studio cds, 2 live cds, a few compilations and "Best

Of's" and some million+ in sales later, Canada's Annihilator is set to unleash something that deserves and demands your complete attention: "Schizo Deluxe". Metal legend Jeff Waters : "Nothing has been able to stop Annihilator's metal machine. Nothing. With "Schizo Deluxe", Annihilator has regained the nonstop power, aggression and guitar-driven insanity it was known for, in the late 80's/mid-90's, yet still breaks new ground. David Padden (vocalist) takes on a slightly more refined style than on the last cd, streamlining his vocal versatility somewhat, in order to focus on pure attitude. Ottawa native Tony Chappelle (drummer) had some serious shoes to fill, those of drum god, Mike Mangini. However, I always give my fans the best and Tony proves that he is on par with anyone else in the business". Bass and all guitar duties were handled by Waters. "Aside from Padden and Chappelle's killer performances,"Schizo Deluxe" showcases some of my most challenging and creative guitar/bass playing. In the past few years, many musicians in both rock and metal have cited the influence of my music on their work. Despite not always attaining the same "superstar" status as many of their bands, I am honored to have had this impact. That being said, how many 80's metal bands have done 16+ years straight, of constantly putting out cds, touring, and remaining 100% true to what they do? Not many!" Most of the "Schizo Deluxe" recording sessions were done at Waters' Ottawa, Canada studios, with Waters engineering and producing. Mixing and mastering duties went to engineer Chris Coldrick. "Schizo Deluxe" is for my fans and all metal fans", adds Waters. "This is a full-on, flat-out ripper that will increase your heart-rate like a shot of adrenaline. No ballads. No lulls in the madness. The energy level does not subside. From the first track to the end: 100% PURE METAL". In "Schizo Deluxe", Waters and Co. have created their most energized offering to date by combining secondto-none musicianship, memorable performances and powerful songwriting. To find this kind of longevity, quality and authenticity in music today, you will have to look long and hard. Annihilator's "Schizo Deluxe" is due out :

SCHIZO DELUXE LP (2005) 1. Maximum Satan 2. Drive 3. Warbird 4. Plasma Zombie 5. Invite It 6. Like Father, Like Gun 7. Pride 8. Too Far Gone 9. Clare 10. Something Witchy BUY SCHIZO DELUXE HERE ALL FOR YOU LP (2004) 1. All For You 2. Dr. Psycho 3. Demon Dance 4. The One 5. Bled 6. Both Of Me 7. Rage Absolute 8. Holding On 9. The Nightmare Factory 10. The Sound Of Horror BUY ALL FOR YOU HERE THE ONE EP (2004) 1. 2. 3. 4. 5. 6. All For You Weapon X The One All For You (Album Version) Never, Neverland (Video) Refresh The Demon (Video)

7. Alison Hell (Video)

THE BEST OF ANNIHILATOR (2004) 1. Crystal Ann 2. Alison Hell 3. W.T.Y.D. 4. Wicked Mystic 5. Word Salad 6. Phatasmagoria 7. Human Insecticide - (live, live) 8. Fun Palace, The 9. Road To Ruin 10. Stonewall 11. Never, Neverland 12. Imperiled Eyes 13. I Am In Command - (live) 14. Set The World On Fire 15. No Zone 16. Phoenix Rising 17. Brain Dance BUY THE BEST OF ANNIHILATOR HERE TWO FROM THE VAULT (2003) Disc 1 : ALICE IN HELL 1. 2. 3. 4. 5. 6. 7. Crystal Ann Alison Hell WTYD Wicked Mystic Burns Like A Buzzsaw Blade Word Salad Schizos (Are Never Alone) Parts 1 and 2 8. Ligeia 9. Human Insecticide 10. Powerdrain (demo) 11. Schhizos Parts 1 and 2 (demo) 12. Ligeia (demo) Disc 2 : NEVER NEVERLAND 1. 2. 3. 4. The Fun Palace Road To Ruin Sixes And Sevens Stonewall

5. Never, Neverland 6. Imperilled Eyes 7. Kraf Dinner 8. Phantasmagoria 9. Reduced To Ash 10. I Am In Command 11. Kraf Dinner (demo) 12. Mayhem (demo of "Reduced To Ash") 13. Freed From The Pit (demo of "Road To Ruin") BUY TWO FROM THE VAULT HERE DOUBLE (2003) Disc 01 1. 2. 3. 4. 5. 6. 7. 8. Murder Ultra Motion The Box Denied The Blackest Day King of the Kill Torn Lunatic Asylum LIVE ANNIHILATION LP

Disc 02 1. Set the World on fire 2. I Am in Command 3. Refresh the Demon 4. Syn Kill 5. Never,Neverland 6. Striker 7. Bliss 8. Phantasmagoria 9. Crystal Ann 10. Allison Hell 11. Shallow Grave BUY DOUBLE LIVE ANNIHILATION HERE

WAKING THE FURY LP (2002) 1. Ultra-Motion 2. Torn 3. My Precious Lunatic Asylum 4. Striker 5. Ritual 6. Prime-Time Killing 7. The Blackest Day 8. Nothing To Me 9. Fire Power 10. Cold Blooded 11. Shallow Grave 12. Nothing To Me (Radio Edit) BUY WAKING THE FURY HERE CARNIVAL DIABLOS LP (2001) 1. Denied 2. The Perfect Virus 3. Battered 4. Carnival Diablos 5. Shallow Grave 6. Time Bomb 7. The Rush 8. Insomniac 9. Liquid Oval 10. Epic Of War 11. Hunter Killer 12. The Box 13. Riff Raff BUY CARNIVAL DIABLOS HERE CRITERIA FOR A BLACK WIDOW LP (1999) 1. Bloodbath 2. Back To The Palace 3. Punctured 4. Criteria For A Black Widow 5. Schizos (Are Never Alone) Part III 6. Nothing Left 7. Loving The Sinner 8. Double Dare 9. Sonic Homicide 10. Mending

BUY CRITERIA FOR A BLACK WIDOW HERE REMAINS LP (1997) 1. Murder 2. Sexecution 3. No Love 4. Never 5. Human Remains 6. Dead Wrong 7. Wind 8. Tricks And Traps 9. I Want 10. Reaction BUY REMAINS HERE LIVE AND IN COMMAND (1996) 1. WTYD 2. Wicked Mystic 3. Ligeia 4. Alison Hell 5. Word Salad 6. WTYD 7. The Fun Palace 8. Never, Neverland 9. I Am In Command 10. Stonewall 11. Road To Ruin 12. Sixes And Sevens 13. Alison Hell 14. Live Wire BUY LIVE AND IN COMMAND HERE REFRESH THE DEMON LP (1996) 1. 2. 3. 4. 5. 6. 7. 8. 9. Refresh The Demon Syn. Kill 1 Pastor Of Disaster A Man Called Nothing Ultraparanoia City Of Ice Anything For Money Hunger Voices And Victims

10.

Innocent Eyes

BUY REFRESH THE DEMON HERE BAG OF TRICKS LP (1994) 1. Alison Hell (Remastered Version) 2. Phantasmagoria (Demo Version) 3. Back To The Crypt 4. Gallery 5. Human Insecticide 6. The Fun Palace (Extended Mix) 7. W.T.Y.D. 8. Word Salad 9. Live Wire 10. Knight Jumps Queen (Demo Version) 11. Fantastic Things 12. Bats In The Belfry (Demo Version) 13. Evil Appetite 14. Gallery '86 15. Alison Hell '86 16. Phantasmagoria '86 BUY BAG OF TRICKS HERE KING OF THE KILL LP (1994) 1. The Box 2. King Of The Kill 3. Hell Is A War 4. Second To None 5. Annihilator 6. 21 7. In The Blood 8. Fiasco 9. Speed 10. Bad Child BUY KING OF THE KILL HERE SET THE WORLD ON FIRE SINGLE (1993) 1. Set The World On Fire (single) 2. Kinght Jumps Queen 3. Hell Bent For Leather

SET THE WORLD ON FIRE LP (1993) 1. Set The World On Fire 2. No Zone 3. Bats In The Belfrey 4. Snake In The Grass 5. Phoenix Rising 6. Knight Jumps Queen 7. Sounds Good To Me 8. The Edge 9. Don't Bother Me 10. Brain Dance BUY SET THE WORLD ON FIRE HERE NEVER, NEVERLAND SINGLE (1991) 1. Never, Neverland 2. WTYD (live in Texas) 3. Word Salad (live in Texas) STONEWALL SINGLE (1990) 1. Stonewall (single) 2. WTYD (live in Texas) 3. Word Salad (live in Texas) NEVER NEVERLAND LP (1990) 1. The Fun Palace 2. Road To Ruin 3. Sixes And Sevens 4. Stonewall 5. Never, Neverland 6. Imperiled Eyes 7. Kraft Dinner 8. Phantasmagoria 9. Reduced To Ash 10. I Am In Command BUY NEVER NEVERLAND HERE

ALICE IN HELL LP (1989) 1. 2. 3. 4. 5. 6. 7. 8. 9. Crystal Ann Alison Hell WTYD Wicked Mystic Burns Like A Buzzsaw Blade Word Salad Schizos (Are Never Alone) Ligeia Human Insecticide

GET ALICE IN HELL HERE

ANNIHILATORLYRICS
album: "Alice In Hell" (1989)
Crystal Ann Alison Hell WTYD Wicked Mystic Burns Like A Buzzsaw Blade Word Salad Schizos (Are Never Alone) Ligeia Human Insecticide

album: "Never Neverland" (1990)

The Fun Palace Road To Ruin Sixes And Sevens Stonewall Never, Neverland Imperiled Eyes Kraft Dinner Phantasmagoria Reduced To Ash I Am In Command

album: "Set The World On Fire" (1993)

Set The World On Fire No Zone Bats In The Belfrey Snake In The Grass Phoenix Rising Knight Jumps Queen Sounds Good To Me

The Edge Don't Bother Me Brain Dance

album: "King Of The Kill" (1994)

The Box King Of The Kill Hell Is A War Second To None Annihilator 21 In The Blood Fiasco Speed Bad Child

album: "Refresh The Demon" (1996)

Refresh The Demon Syn. Kill 1 Pastor Of Disaster A Man Called Nothing Ultraparanoia City Of Ice Anything For Money Hunger Voices And Victims Innocent Eyes

album: "Remains" (1997)

Murder Sexecution No Love Never Human Remains Dead Wrong Wind Tricks And Traps I Want Reaction

album: "Criteria For A Black Widow" (1999)

Bloodbath Back To The Palace Punctured Criteria For A Black Widow Schizos (Are Never Alone) Part III Nothing Left Loving The Sinner

Double Dare Sonic Homicide Mending

album: "Carnival Diablos" (2001)

Denied The Perfect Virus Battered Carnival Diablos Shallow Grave Time Bomb The Rush Insomniac Liquid Oval Epic Of War Hunter Killer The Box Riff Raff

album: "Waking The Fury" (2002)

Ultra-Motion Torn My Precious Lunatic Asylum Striker Ritual Prime-Time Killing The Blackest Day Nothing To Me Fire Power Cold Blooded Shallow Grave Nothing To Me (Radio Edit)

album: "All For You" (2004)

All For You Dr. Psycho Demon Dance The One Bled Both Of Me Rage Absolute Holding On The Nightmare Factory The Sound Of Horror

album: "Schizo Deluxe" (2005)

Maximum Satan Drive

Warbird Plasma Zombies Invite It Like Father, Like Gun Pride Too Far Gone Clare Somthing Witchy

Anathema - formata in 1990 in Liverpool, Marea Britanie Perioada de activitate: 1990 - prezent. Membri: - Vincent Cavanagh - chitara, voce; Daniel Cavanagh chitara; Les Smith - clape; Jamie Cavanagh - Bass; John Douglas tobe Ex-membri: Darren White - voce (The Blood Divine, Dead Men Dream, Serotonal); Duncan Patterson - Bass (Antimatter, Dreambreed); Dave Pybus Bass (Dreambreed, Cradle of Filth); George Roberts - Bass (doar sesiuni live); Shaun Steels - tobe (My Dying Bride); Martin Powell clape, vioara (My Dying Bride, Cradle of Filth, Cryptal Darkness) Stiluri abordate: Doom/Death Metal, Atmospheric Rock * Anathema - discografie Anathema, una din cele mai proeminente trupe din scena doom/gothic, un adevarat fenomen muzical care a luat pe sus scena metalica britanica si care a impus un stil unic, urmat si copiat de multi altii. Anathema vine din Liverpool, fiind creatia fratilor Cavanagh, Danny si Jimmie. In 1990, Anathema a scos primul lor demo "An illiad of woes", care a pus pe tapet potentialul trupei, indiferent de conditiile slabe in care s-a facut inregistrarea. In 1991, trupa realizeaza al 2lea demo "All faith is lost" si primul extras oficial "They Die". Aceste doua inregistrari au captat atentia Peaceville Records, renumiti pentru catalogul lor de trupe originale si inovatoare. In 1992, Anathema scoate pe piata ceea ce avea sa devina clasic, "The crestfallen", un E.P. care a aratat, pentru prima oara, ceea ce putea Anathema face cu adevarat. Nu a fost o surpriza ca primul album "Serenades", a devenit un imens succes, un an mai tarziu. Cu piese de factura doom atmosferica si lirica introspectiva ce explora toate aspectele unui suflet

intunecat, "Serenades" a fost un exercitiu de stil si arta muzicala pura. A urmat un mini disc, "Pentecost III" in 1995. In acelasi an, in timp ce inregistrau cel de-al 2lea album, Anathema a fost fortata sa inlocuiasca solistul, ale carui sarcini au fost preluate de Vincent Cavanagh, in timp ce Darren White parasea trupa. Rezultatul a fost "The silent enigma", rodul unei munci ambitioase, ce evidentiaza o simplificare a structurii pieselor, producand piese emotionale si romantice, inzestrate de abilitatea trupei de a crea versuri poetice. Albumul ulterior, "Eternity" din 1996, arata o schimbare radicala, punand clar in lumina o evolutie a trupei, ce a adus albumul mai aproape de progressive metal decat celelate albume. In ceea ce priveste partea vocala, lirica se refera la dragoste si moarte, ca fiind cele mai relevante subiecte. Productia, insa, nu a fost cea mai buna si albumul a avut de suferit din cauza aceasta. A urmat o noua schimbare, cu "Alternative 4" in 1998, un album care ar fi putut fi de debut, pt ca arata o noua fata Anathema. Se observa o noua gama de piese armonice, si totodata heavy, la care se adauga stralucitoarea voce a lui Vincent, toate multumita productiei extraordinare ce a oferit formatiei posibilitatea de a arata tot ce poate. Criticii au fost unanimi: "Alternative 4" a fost o bijuterie, un imn doom ce a ajuns la inimile tuturor metalistilor, indiferent de genurile preferate de fiecare. Dupa aceasta, basistul Duncan Petterson paraseste trupa. In 1999, formatia sufera cateva modificari de componenta: cu un nou basist (Dave Pybus)si intoarcerea lui John Douglas, bateristul original. O data cu aceste schimbari, trupa trece la alta casa de discuri Music for Nations. Anathema se indreapta spre Italia unde inregistreaza "Judgement", probabil cel mai bun album din istoria trupei. Defineste Anathema ca o forta de recunoscut pe un plan atat intunecat cat si visator si romantic. Totusi, formatia a reusit sa se reinventeze iar in 2001, cu ajutorul lui Lee Smith, un keyboardist care a mai lucrat cu trupa, apare "A fine day to exit". Acum Anathema abordeaza un stil mai modern, cu mai putine elemente clasice, dar care amesteca doomul cu progressivul, atingand un nivel de originalitate foarte greu de depasit. Dave Pybus iese din trupa si este inlocuit cu George Roberts, in timp ce se cauta un basist permanent. Pana in prezent, Anathema a mai lansat: 2 compilatii ce contin cele mai bune piese ale lor - Resonance 1 (2001) si Resonance 2 (2002), un album intitulat "A Natural Disaster" (2001), urmat de o serie

de spectacole sustine de trupa; inregistrarile acestor concerte au furnizat material pentru lansarea DVD-ului "Were You There?" in 2004. La mai mult de 10 ani de la inceputuri, membrii Anathema si-au adjudecat titlul de muzicieni foarte buni si au castigat devotamentul multor fani, impresionand criticii din toata lumea, si aducand elemente originale la fiecare album, evoluand, fara sa piarda spiritul initial sau scopul principal: sa creeze muzica ce va trece dincolo de urechi si care va atinge sufletul.

Discografie Anathema:
1992 The Crestfallen - EP

Track list: 1. "...And I Lust" - 5:47 2. "The Sweet Suffering" - 6:42 3. "Everwake" - 2:41 4. "Crestfallen" - 10:17 5. "They Die" - 7:59

1993 Serenades Track list: 01. "Lovelorn Rhapsody" - 6:12 02. "Sweet Tears" - 4:06 03. "J'ai Fait une Promesse" - 2:32 04. "They (will always) Die" - 7:06 05. "Sleepless" - 4:07 06. "Sleep in Sanity" - 6:46 07. "Scars of the Old Stream" - 1:06 08. "Under a Veil (of black lace)" - 7:22 09. "Where Shadows Dance" - 1:52 10. "Dreaming: the Romance" - 22:30

1995 Penthecost III - EP

Track list: 1. "Kingdom" - 9:31 2. "Mine Is Yours to Drown In (Ours Is The New Tribe)" - 5:40 3. "We, the Gods" - 9:59 4. "Pentecost III" - 3:54 5. "Memento Mori" - 12:18

1995 The Silent Enigma Track list: 1. "Restless Oblivion" - 8:03 2. "Shroud of Frost" - 7:31 3. "...Alone" - 4:24 4. "Sunset of the Age" - 6:57 5. "Nocturnal Emission" - 4:20 6. "Cerulean Twilight" - 7:05 7. "The Silent Enigma" - 4:25 8. "A Dying Wish" - 8:12 9. "Black Orchid" - 3:40

1996 Eternity Track list: 01. "Sentient" 2:59 02. "Angelica" 5:51 03. "The Beloved" 4:44 04. "Eternity Part I" 5:35 05. "Eternity Part II" 3:12 06. "Hope" 5:55 07. "Suicide Veil" 5:11 08. "Radiance" 5:52 09. "Far Away" 5:30 10. "Eternity Part III" 4:44 11. "Cries on the Wind" 5:01 12. "Ascension" 3:21 13. Far Away (acoustic)" 5:23 (re-issue) 14. Eternity Part III (acoustic)" 5:06 (re-issue)

1998 Alternative 4 Track list: 01. "Shroud of False" 1:37 02. "Fragile Dreams" 5:32 03. "Empty" 3:00 04. "Lost Control" 5:50 05. "Re-Connect" 3:52 06. "Inner Silence" 3:09 07. "Alternative 4" 6:18 08. "Regret" 7:58 09. "Feel" 5:28 10. "Destiny" 2:14

1999 Judgement Track list: 01. "Deep" 4:53 02. "Pitiless" 3:11 03. "Forgotten Hopes" 3:50 04. "Destiny Is Dead" 1:47 05. "Make it Right (f.f.s.)" 4:19 06. "One Last Goodbye" 5:24 07. "Parisienne Moonlight" 2:09 08. "Judgement" 4:20 09. "Don't Look Too Far" 4:57 10. "Emotional Winter" 5:54 11. "Wings of God" 6:29 12. "Anyone, Anywhere" 4:51 13. "2000 & Gone" 4:51

2001 Resonance Track list: 01. "Scars of the Old Stream" 01:10 02. "Everwake" 02:39 03. "J'ai fait une Promesse" 02:39 04. "Alone" 04:29 05. "Far Away (acoustic)" 05:22 06. "Eternity (part 2)" 03:11 07. "Eternity (part 3) (acoustic)" 05:08 08. "Better Off Dead" 04:22 09. "One of the Few" 01:50 10. "Inner Silence" 03:09 11. "Goodbye Cruel World" 01:41 12. "Destiny" 02:14 13. "The Silent Enigma (orchestral)" 04:14 14. "Angelica (live Budapest 1997)" 06:58 15. "Horses" 01:13

2001 A Fine Day To Exit Track list: 1. "Pressure" 6:44 2. "Release" 5:47 3. "Looking Outside Inside" 6:23 4. "Leave No Trace" 4:46 5. "Underworld" 4:09 6. "Barriers" 5:53 7. "Panic" 3:30 8. "A Fine Day to Exit" 6:49 9. "Temporary Peace" 18:46

2002 Resonance 2 Track list: 01. "Lovelorn Rhapsody" 5:49 02. "Sweet Tears" 4:12 03. "Sleepless 96" 4:31 04. "Eternal Rise of the Sun" 6:34 05. "Sunset of Age" 6:55 06. "Nocturnal Emission" 4:18 07. "A Dying Wish" 8:12 08. "Hope" 5:54 09. "Cries in the Wind" 5:03 10. "Fragile Dreams" 5:32 11. "Empty" 3:00 12. "Nailed to the Cross / 666" 4:10 13. "Mine Is Yours (video)

2004 A Natural Disaster Track list: 01. "Harmonium" 5:28 02. "Balance" 3:58 03. "Closer" 6:20 04. "Are You There?" 4:59 05. "Childhood Dream" 2:10 06. "Pulled Under at 2000 Metres per Second" 5:23 07. "A Natural Disaster" 6:27 08. "Flying" 5:57 09. "Electricity" 3:51 10. "Violence" 10:45

Inapoi sus

ANATHEMALYRICS
album: "An Iliad Of Woes" (1990 DEMO)
The Lord Of Mortal Pestilence Memento Mori In The Name Of The Father Echoes Of Terror

album: "All Faith Is Lost" (1991)

Crestfallen At One with the Earth All Faith Is Lost They Die

album: "They Die" (1992)

They die Crestfallen

album: "The Crestfallen" (1992)

...And I lust The sweet suffering Everwake Crestfallen They die

album: "Serenades" (1993)

Lovelorn Rhapsody Sweet Tears J'ai Fait Une Promesse They (Will Always) Die Sleepless Sleep In Sanity Scars Of The Old Stream Under A Veil (Of Black Lace) Where Shadows Dance Dreaming: The Romance

album: "We Are The Bible" (1994)

Nailed To The Cross / 666 Eternal Rise Of The Sun

album: "Pentecost III" (1995)

Kingdom Mine is yours to drown in (ours is the new tribe) We, the gods Pentecost III Memento Mori

album: "The Silent Enigma" (1995)

Restless Oblivion Shroud Of Frost ...Alone Sunset Of The Age Nocturnal Emission Cerulean Twilight The Silent Enigma A Dying Wish Black Orchid

album: "Eternity" (1996)

Sentient Angelica The Beloved Eternity Part I Eternity Part II Hope Suicide Veil Radiance Far Away Eternity Part III Cries On The Wind Ascension Far Away (Acoustic) Eternity Part III (Acoustic) Sleepless '96

album: "Alternative 4" (1998)

Shroud Of False Fragile Dreams Empty Lost Control Re-Connect Inner Silence Alternative 4 Regret Feel Destiny Your Possible Pasts One Of The Few Better Off Dead Goodbye Cruel World

album: "Judgement" (1999)

Deep Pitiless Forgotten Hopes Destiny Is Dead One Last Goodbye Make It Right Parisienne Moonlight Don't Look Too Far Emotional Winter Wings Of God Judgement Anyone, Anywhere 2000 & Gone Transacoustic

album: "A Fine Day To Exit" (2001)

Pressure Release Looking Outside Inside Leave No Trace Underworld (Breaking Over The) Barriers Panic A Fine Day To Exit Temporary Peace

album: "Resonance" (2001)

Scars Of The Old Stream Everwake J'fait Une Promesse Alone Far Away (Acoustic) Eternity (Part 2) Eternity (Part 3) (Acoustic) Better off Dead One of the Few Inner Silence Goodbye Cruel World Destiny The Silent Enigma (Orchestral) Angelica (Live Budapest 1997) Horses

album: "Resonance 2" (2002)

Lovelorn Rhapsody Sweet Tears

Sleepless 96 Eternal Rise Of The Sun Sunset Of Age Nocturnal Emission A Dying Wish Hope Cries In The Wind Fragile Dreams Empty Nailed To The Cross / 666

album: "A Natural Disaster" (2003)

Harmonium Balance Closer Are You There? Childhood Dream Pulled Under 2000 Metres A Second A Natural Disaster Flying Electricity Violence

BIOGRAFIE BATHORY
Anul infiintarii: 1984
Anul desfiintarii: In activitate Gen: Death/black/epic metal Componenta actuala: Quorthon-voce/toate instrumentele Discografie: The Return 1983 (demo) Bathory 1984 LP The Return 1985 LP Under The Sign Of The Black Mark 1987-LP Blood Fire Death 1988-LP Hammerheart 1990-LP Twilight Of The Gods 1991-LP Jubileum Volume I 1992compilatie Jubileum Volume II 1993compilatie Requiem 1994-LP Octagon 1995-LP Blood On Ice 1996-LP Jubileum Volume III 1998compilatie Din aceeasi zona: Manowar-Kings Of Metal Venom-Black Metal Enslaved-Eld A scrie istoria unei legende reprezinta intotdeauna un demers destul de riscant, iar cand numele legendei este Bathory lucrurile se complica si mai mult. In jurul grupului Bathory s-a creat de-a lungul anilor o aura mitica, alimentata permanent de exagerari si interpretari contradictorii, mai ales ca aceasta atmosfera misterioasa a fost incurajata chiar de creierul grupului, Quorthon. De aceea, aceasta scurta biografie isi propune sa mai desacralizeze aceste mituri si, bazandu-se pe putinele informatii si date oferite chiar de Quorthon in interviurile pe care le-a dat de-a lungul vremii, sa propuna o imagine cat mai exacta si veridica a ceea ce inseamna Bathory.

Alaturi de Venom, Bathory a pus bazele black metal-ului modern si a aprins scanteia care a dus la explozia scenei metalice extreme in Scandinavia. Cele doua grupuri au folosit pentru prima oara agresivitatea muzicala combinata cu vocile guturale, care astazi reprezinta un standard al genului black/death. Se poate afirma ca grupul suedez Bathory a influentat direct sau indirect fiecare titulatura black metal din ultimul deceniu. Bathory nu este altceva decat proiectul unei singure persoane, al carui nume real nu a fost dezvaluit niciodata, dar cunoscut tuturor cu pseudonimul Quorthon. El a compus in intregime materialul care se aude pe cele 9 albume, fiind ajutat cateodata la inregistrari de unii muzicieni de studio, a caror identitate este mai mult sau mai putin cunoscuta. Unul dintre bateristii care l-a ajutat pe Quorthon la inceput este Jonas Akerlund, devenit astazi un celebru regizor de videoclipuri, lucrand in ultimii ani cu Madonna, Metallica sau Prodigy. In 1983 un tanar de numai 17 ani (Quorthon) impreuna cu doi prieteni se hotarasc sa infiinteze un grup care sa adopte o atitudine diferita de mainstream. Trupa proaspat infiintata schimba mai multe nume printre care Nosferatu, Natas, Countess Bathory, pentru ca in final sa fie intitulata Bathory. Acest nume provine de la sangeroasa contesa Elizabeth Bathory, o nobila care a trait in Ungaria in anii 1700, si care a fost condamnata pentru ca a ucis sute de tinere in al caror sange se imbaia pentru a-si conserva tineretea si frumusetea corpului. Este posibil ca numele grupului sa fi fost influentat de piesa "Countess Bathory", inclusa pe albumul Black Metal al celor de la Venom, insa aceasta este doar o supozitie intemeiata pe faptul ca primele produse Bathory aduc destul de mult cu ceea ce canta Venom. Revenind insa la inceputuri, in acea perioada Quorthon ajuta o companie de discuri sa descopere noi trupe care merita un contract. Acest lucru ii faciliteaza lui Quorthon si grupului sau, Bathory aparitia cu doua piese pe compilatia Scandinavian Metal Attack vol.1. Aceste piese capata cea mai mare atentie din partea publicului, astfel incat tanarului grup suedez i se ofera sansa de a intra in studio pentru a inregistra un prim album. Inregistrarile costa cateva sute de dolari si au loc pe parcursul a 36 de ore intr-un garaj denumit studioul Heavenshore . Nimeni, nici macar Quoarthon, nu ar fi visat macar ca acest album intitulat Bathory va marca inceputul unei noi ere muzicale, generand de fapt un nou curent metalic. Quorthon dorea sa cante un metal rapid, cu un sound brutal si cu versuri oculte inspirate din ceea ce faceau Black Sabbath. Dar acest gen muzical era absolut necunoscut in Suedia acelor vremuri, fapt ce ii provoaca imediat lui Quorthon probleme de componenta, fiindu-i extrem de dificil sa gaseasca muzicieni potriviti care sa accepte sa cante o astfel de muzica. Toti muzicienii pe care Qourthon incerca sa ii coopteze erau fani ai unor grupuri ca Europe si adoptau un look extrem de efeminat, care nu se potrivea deloc cu muzica brutala a lui Bathory. De aceea, toti cei care s-au perindat in grup in anii de inceput nu prezinta importanta, intrucat nu au avut nici o contributie in compunerea materialului. Dupa succesul inregistrat de primul album, urmeaza alte doua discuri compuse in aceeasi maniera The Return si Under The Sign Of Black Mark, cu siguranta cele mai extreme produse muzicale aparute in acei ani. Muzica devine pe aceste discuri si mai agresiva datorita unui arsenal de efecte zgomotoase si distorsionate, acompaniate de o voce guturala si salbatica. O mare contributie la acest sunet primitiv si-au adus-o si circumstantele total neprofesioniste in care au fost inregistrate albumele. Chiar daca The Return a fost inregistrat in alt studio decat garajul folosit pentru primul album, atmosfera pentru a realiza un produs profesionist a lipsit de data asta pentru ca in acea perioada Quorthon avea mari probleme cu alcoolul, iar singurele lucruri pe care si le aminteste din perioada inregistrarilor conform propriilor spuse, sunt momentele in care tinea in mana o sticla de whisky. Cum muzica era extrema, si versurile trebuiau sa fie pe masura, astfel ca, din punct de vedere liric, subiectele sunt legate de satanism si magie neagra. S-a fabulat destul de mult de catre fani si mass media pe aceste teme si pe implicarea lui Quorthon in satanism, insa realitatea este mult mai simpla. Trebuie sa ne gandim insa ca in acea perioada Quorthon era un tanar rebel care facea o muzica neobisnuita si era normal ca el sa arate un mare interes temelor oculte, sa fie mai aproape de Satan decat de Christos. Chiar daca el a fost pentru o vreme fascinat de aceste subiecte, nu a luat niciodata lucrurile prea in serios. De fapt, Bathory nu a avut niciodata ca obiectiv

promovarea unor mesaje, singurul scop al lui Quorthon fiind provocarea de a face intotdeauna albume inedite si de a explora noi teritorii muzicale. De aceea, dupa cel de-al treilea album, orizontul de interes al lui Quorthon se schimba, satanismul pueril fiind inlocuit de mitologia pagana, un domeniu fertil si inca neexplorat la acea vreme de grupurile metalice. Aceste subiecte sunt sursa de inspiratie pentru urmatoarele albume Bathory. Insa, mai mult decat atat, aceste arhetipuri stravechi devin o componenta esentiala in genul black metal al ultimului deceniu. Avand in timpul scolii ore de religie, Quorthon devine interesat de "asatru". Tradus, acest cuvant inseamna "credinta in Aesir" (Aesir este panteonul stravechilor zei nordici din perioada precrestina) si este folosit in terminologia moderna pentru a desemna renasterea si reconstructia civilizatiei nordice pe baza conceptiilor religioase pagane. Cele trei produse aparute intre anii 1998 si 1991, Blood Fire Death, Hammerheart si Twilight Of The Gods constituie trilogia asatru a grupului Bathory. Schimbarile aduse de Quorthon nu au loc numai la nivel conceptual, ci si din punct de vedere muzical lucrurile stau acum total diferit. Muzica cunoaste o noua abordare, partile agresive si brutale fiind inlocuite cu aranjamente orchestrale, instrumentatii acustice, coruri si voci de factura razboinica. Daca pe Blood Fire Death elementele brutale sunt inca prezente, urmatoarele doua albume sunt adevarate opere epice, pline de sonoritati clasice. De altfel Quorthon a declarat ca singura muzica pe care o asculta este cea clasica, de unde influentele evidente in acest sens. Daca asculti aceste albume ai imaginea plastica a unor vikingi inalti de doi metri, cu parul pana la genunchi, care canta intrao mare de foc. Cat de diferita este insa realitatea! Inregistrarile acestor albume s-au facut in acelasi studio improvizat intr-un garaj... Quorthon isi aminteste cu nostalgie cum era nevoit sa strecoare printre caroserii, tevi si baterii de automobile pentru a canta la fiecare instrument. Erau momente cand vocea a fost inregistrata in baie, deoarece nu mai era loc in "studioul" propriu-zis. Este de-a dreptul uimitor cum a putut fi creata o muzica complexa si inaltatoare in asemenea conditii. Acest lucru sustine insa teoria ca este posibil sa creezi lucruri marete cu mijloace insignifiante, daca exista suficienta vointa si inteligenta creatoare. Dupa realizarea in 1992 a unor compilatii care au punctat zece ani de la infiintarea grupului, Bathory schimba din nou stilul, atingand acum teritoriul death metalu-ului brutal cu influente trash. In aceasta maniera stilistica apar doua albume relativ anoste, Requiem si Octogon. In 1996 este lansat Blood On Ice, care este similar din punct de vedere stilistic cu Hammerheart. Explicatia acestui lucru se datoreaza faptului ca materialul inclus pe Blood On Ice a fost compus intre anii 1989-1991, ideea lui Quorthon fiind aceea de realiza un album conceptual. Intre timp insa, proiectul acesta a fost abandonat pana in 1996, cand Quorthon a decis sa le ofere fanilor perioadei epice inca un suvenir sub forma acestui disc de exceptie. Dupa 1996, tacerea s-a asternut treptat peste tabara Bathory, insa noul album intitulat Destroyer Of Worlds este prevazut sa apara in aceasta toamna. Daca el va continua linia epica a lui Blood On Ice sau va oferi un alt tip de metal ramane de vazut, Quorthon fiind cunoscut ca un muzician impredictibil. In aceasta biografie nu s-a facut referire la nici o aparitie live a grupului Bathory din simplul motiv ca nu a existat niciuna, exceptand cateva show-uri in Stochkolm in anii 1983 si 1985. Quorthon a considerat intotdeauna muzica Bathory prea complexa pentru a putea fi transpusa live. Bathory a reusit sa stabileasca schema curentului black metal nordic, prefigurand paradigmatic toate formele ulterioare cuprinse in acest gen: de la ritmuri ultra rapide si agresive pana la linii melodioase bombastice si orchestrale, ce reflecta din abundenta teme ca satanismul si mitologia straveche pagana. Dragos Patlageanu

Origin: Sweden Status: Active Style: Black Metal

QUORTHON R.I.P
Website: (Unofficial) http://www.bathory.se Very few artists can claim mystery, legends, pioneer status as well as secrets to their name, but enigmatic Quorthon and his musical outlet Bathory is a prime example. For 20 years now, this Swedish one-man outfit has been a source of inspiration for the entire black metal scene both in terms of musical expression as well as image-wise. It all began in 1983 when vocalist/guitarist Black Spade, bassist Hanoi and drummer Vans formed Nosferatu in an aim to play thoroughbred heavy metal. In the course of time, the band used names such as Natas, Mephisto, Elizabeth Bathory and Countess Bathory before the final choice of band name fell on Bathory. In 1984, Black Spade changed his pseudonym to Qourthon (a.k.a Quorthon Seth) while Bathory prinicpally became a one-man band concentrated on Quorthon himself, who apparently employed anonymous drummers on the studio records. This also meant that any live activities from the band ceased to appear. Later that year, Bathory released the Brje Boss Forsberg-produced Bathory, which gave the band cult succes on the metal scene due to its non-compromising and unique metal style. In 1985, the band issued The Return, which was far more chaotic and gloomy than the previous album. In 1986, Bathory recorded Under the Sign of the Black Mark, which obtained and illustrated the genre name black metal, and the album has ever since been a fundamental inspirational source for other black metal

bands. In 1987, Bathory rehearsed with the German session drummer Chris Witchhunter (real name Christian Dudeck) for an upcoming tour, but these arrangements came to nothing. In 1988, Bathory was expanded with bassist Vvorthn and drummer Kothaar, after which the musicians released Blood, Fire, Death , which was composed of aggressive death metal with a general war theme. The album became a huge succes. In spite of the expanded line-up, Bathory did however not start to perform concerts, and this was moreover the one and only time that the bands line-up was depicted on a record cover. Bathory was already a myth, which was in particular caused by the concealment of Quorthons identity, but it was said to be possible that he was the son of Brje Boss Forsberg and that his true name was therefore Tomas Forsberg. In 1988/89, Bathory began the recordings of Blood On Ice, which consisted of an epic saga with musical roots in Viking-styled metal, but this album indicated a change of style that was too big in comparison to the previous album, for what reason Quorthon put the bloody work on ice. In 1989, Bathory recorded Hammerheart, which was composed of mainstream metal with an evident Viking-styled theme. The record was released the following year. Bathory moreover released a video for the one and only time for the track One Rode To Asa Bay. Soon Vvorthn and Kothaar disappeared from the band line-up without a trace. In 1990,Bathory recorded Requiem but once again Quorthon shelved the release plans as the brutal death metal style of the album broke too much with the actual Bathory style. In 1991 Bathory issued Twilight of the Gods, which continued the Viking theme but incorporated classical elements, and the record was on the whole very depressive and restrained in pace. In 1994, Bathory finally released Requiem. In 1995, Bathory recorded Octagon, which experimented with thrash metal influenced by industrial with socially conscious lyrics, which was completely unlike previous records. Later that year, Quorthon added the finishing touches to Blood On Ice, and in 1996 the album was finally released. Bathory later worked on the recordings of the album Destroyer of Worlds, but these efforts made slow progress. At the same time, Quorthon played with Nemesis for the sake of diversion. In 2001, Destroyer of Worlds was finally released. The music held strong references to both thrash, mellow heavy metal, doom metal and Viking-styled metal. In 2002, Bathory recorded Nordland 1, which saw a characteristic full-scale return to the epic and Viking-styled metal. In 2003, Bathory issued Nordland II, which continued the ideas of the previous and first album of the two, but the music furthermore relied on thrash. Discography 1984: 'Bathory' 1985: 'The Return' 1987: 'Under The Sign Of The Black Mark' 1988: 'Blood Fire Death' 1990: 'Hammerheart' 1991: 'Twilight Of The Gods' 1992: 'Jubileum Volume I' 1993: 'Jubileum Volume II' 1994: 'Requiem' 1995: 'Octagon' 1996: 'Blood On Ice' 1998: 'Jubileum Volume III' 2001: 'Katalog' 2001: 'Destroyer Of The Worlds' 2002: 'Nordland I' 2003: 'Nordland II' Label Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark Black Mark

Albums released by Blind Guardian so far:

Battalions of Fear

Follow the Blind

Tales from the Twilight World

Somewhere far Beyond

Tokyo Tales

Imaginations from the other Side

The Forgotten Tales

Nighfall In Middle-Earth

Up one page.. 14-May-98/bziller@ba-stuttgart.de

Mirror Mirror
Far, far beyond the island We dwelt in shades of twilight Through dread and weary days Through grief and endless pain It lies unknown The land of mine A hidden gate To save us from the shadow fall The lord of water spoke In the silence Words of wisdom I've seen the end of all Be aware the storm gets closer chorus (1): Mirror Mirror on the wall True hope lies beyond the coast You're a damned kind can't you see That the winds will change Mirror Mirror on the wall True hope lies beyond the coast You're a damned kind can't you see That tomorrows bears insanity Gone's the wisdom Of a thousand years A world in fire and chains and fear Leads me to a place so far Deep down it lies my secret vision I better keep it safe

Shall I leave my friends alone Hidden in my twilight hall (I) know the world is lost in fire Sure there is no way to turn it Back to the old days Of bliss and cheerful laughter We're lost in barren lands Caught in the running flames Alone How shall we leave the lost road Time's getting short so follow me A leader's task so clearly To find a path out of the dark chorus (2): Mirror Mirror on the wall True hope lies beyond the coast You're a damned kind can't you see That the winds will change Mirror Mirror on the wall True hope lies beyond the coast You're a damned kind can't you see That the winds will change Even though The storm calmed down The bitter end Is just a matter of time Shall we dare the dragon Merciless he's poisoning our hearts Our hearts How shall we leave the lost road Time's getting short so follow me A leader's task so clearly To find a path out of the dark chorus (2)

BIOGRAFIE BLIND GUARDIAN

Atunci cand se vorbeste despre fondatorii scenei power metal, cateva nume apar in discutie aproape invariabil: Helloween, Savatage si, cu voia dvs., Blind Guardian. Iar daca primele doua trupe s-au lansat cand metalul era pe val pe ambele maluri ale Atlanticului, cei patru

Anul infiintarii : 1986 Gen: Progressive power metal Componenta: Hansi Kursch (voce, bas) Andre Olbrich (chitara) Marcus Armin Siepen (chitara) Thomas Stauch (baterie) Discografie: Battalions of Fear (1988) Follow the Blind (1989) Tales from the Twilight World (1991) Somewhere Far Beyond (1992) Tokyo Tales (Live, 1993) A Past and Future Secret (EP, 1995) Imaginations from the Other Side (1995) Mr. Sandman (EP, 1996) The Forgotten Tales (compilatie, 1996) Nightfall in Middle Earth (1998) Mirror, Mirror (EP, 1998) and Then There Was Silence (EP, 2001) A Night at the Opera (2002) Din aceeasi zona: Savatage Tad Morose Royal Hunt

nemti au avut parte de un inceput mai ezitant, reusind insa sa recupereze prin albume din ce in ce mai valoroase. Beneficiind de o promotie aproape inexistenta, o distributie ca vai de lume si promovare radio zero, nemtii au reusit incet dar sigur sa-si alcatuiasca o adevarata armata de fani, care le cumpara albumele si toate celelalte produse, merg la concerte si ii sustin moral.

Povestea Blind Guardian incepe in 1986 in micutul orasel Krefeld, sub numele Lucifer's Heritage. Trupa a fost remarcata in perioada underground in special datorita dexteritatii cu care cei patru membri isi manuiau instrumentele: Andre Olbricht si Markus Siepen chitarile, Thomas Stauch la baterie si Hansi Kursch la chitara bass si voce. Influentele declarate in acea perioada includeau Helloween, Iron Maiden si o extraordinara trupa britanica uitata astazi numita Satan. Cele doua casete demo inregistrate sub numele Lucifer's Heritage se intituleaza Symphonies of Doom, respective Batallions of Fear , cea de a doua fiind "vinovata" pentru semnarea contractului cu tanara casa de discuri germana No Remorse, ocazie cu care li se impune si schimbarea numelui. Albumul de debut, Battalions of Fear s-a bucurat de un success moderat pe scena din fosta RFG, punand insa bazele sound-ului Blind Guardian, o combinatie de speed si power metal cu elemente clasice, dar departe de maturitatea sonora si componistica pe care o vor capata cativa ani mai tarziu. Influenta operei lui JRR Tolkien in versurile lui Hansi a fost evidenta inca de atunci, piese precum Majesty (probabil cea mai reusita secventa a albumului), By the Gates of Moria si Gandalf's Rebirth fiind in acelasi timp si suita ce deschidea concertele lor din epoca. Albumul a fost produs de catre Kalle Trapp (Saxon, Grave Digger) si tot el a fost pastrat la pupitru si pentru albumul secund, Follow the Blind. Din pacate, acest produs nu a fost un pas inainte fata de precedentul (probabil si datorita grabei cu care a fost scos pe piata). Kai Hansen, pe atunci chitaristul (si fostul vocal) al grupului Helloween este invitat pe doua dintre piese, Banished from Sanctuary si Valhalla, aceasta din urma si singura demna a fi remarcata de pe acest album. De altfel sound-ul acestui disc aduce destul de mult cu cel din prima perioada a grupului Helloween. Vocea lui Hansi este inca necizelata (cei de la Virgin Records il vor trimite sa ia lectii de canto cativa ani mai tarziu) si albumul per total sufera din cauza productiei. Anul de gratie in cariera Blind Guardian a fost 1990 si aparitia albumului cu numarul 3, Tales from the Twilight World, un album ce combina elemente power si speed traditionale ale

grupului cu cele epice ale metalul melodic cu o orchestratie de inspiratie clasica, facand poate albumul accesibil unei mai largi paturi sociale si punand astfel bazele sound-ului Blind Guardian. In Germania albumul s-a vandut in peste 30,000 de exemplare, fiind primul pas al celor patru spre lumea buna a scenei metalice. Cele mai reusite piese ale acestui album sunt Lord of the Rings si Lost in the Twilight Hall (din nou cu versuri inspirate din opera lui Tolkien), ca si The Last Candle. In ciuda succesului acestui produs discografic No Remorse, casa lor de discuri da faliment (paradoxal, spre norocul grupului) si cei patru nemti ajung, spre surprinderea tuturor, in curtea casei de discuri majore Virgin (probabil una dintre ultimele trupe de metal traditional care a ajuns sub contract cu un astfel de gigant al showbiz-ului). Desi nu a fost lansat in mod oficial decat in Europa, Somewhere Far Beyond a ajuns rapid la aproape 150.000 de exemplare vandute (poate si datorita mult mai bunei distributii la care aveau acum acces). Combinatia de balade epice si riff-uri metalice agresive este dusa la desavarsire, dar din pacate alegerea casei de discuri pentru primul single oficial al grupului, The Bard's Song, nu este deloc una fericita, preferintele fanilor indreptandu-se catre Theatre of Pain si The Hobbit (din nou lecturile povestilor lui Tolkien si muzica Blind Guardian alcatuiesc o reteta castigatoare). Urmatorul capitol din saga grupului este ul album live, inregistrat dupa modelul Deep Purple in cadrul primului lor turneu japonez si "inspirat" intitulat Tokyo Tales..De fapt, acesta este un alt succes comercial al grupului, nu mai putin de 250000 de exemplare fiind vandute in mai putin de un an, ceea ce i-a determinat probabil pe directorii de la Virgin Records sa nu regreta decizia de a semna cu o trupa de metal intr-un moment cand majoritatea gastilor din aceasta zona muzicala primeau bocanci in zona posterioara. Imediat dupa finalul primului lor turneu extra-european cei patru s-au asternut la treaba in studioul Sweet Silence din Copenhaga, cu celebrul producator Flemming Rasmussen (Metallica) la pupitru, albumul Imaginations from the Other Side rezultat in urma efortului fiind considerat si astazi de foarte multi dintre fanii grupului cel mai reusit al trupei. Aparitia propriu-zisa este precedata de primul EP din cariera grupului, A Past and Future Secret, un model comercial ce va fi mentinut si pentru viitoarele albume. Atmosfera medievala este cu mult mai pregnanta, corurile devin un element de baza al refrenelor iar turneul de promovare ce urmeaza poate fi considerat ca cel mai important din cariera grupului, cu aproape doua sute de concerte pe durata a doi ani de zile si trei continente vizitate. Este albumul cu care Blind Guardian poposesc definitiv in galeria monstrilor sacri ai scenei metalice. Si pentru ca trupa se afla pe culmile succesului, o compilatie este aproape obligatorie, iar ea a aparut in 1996 sub titlul The Forgotten Tales, precedata de mini-albumul Mr.Sandman. Dar pentru ca nemtii isi respecta emblema, au vrut sa ofera fanilor ceva mai mult decat o colectie de piese aparute pe albume mai vechi, albumul incluzand cateva cover-uri, precum To France (Mike Oldfield), Surfin' USA (Beach Boys) si Spread Your Wings (Queen), precum si versiuni acustice sau orchestrale ale unor cantece mai vechi ale grupului si o piesa live. Si pentru ca fiecare nou album este o provocare, Blind Guardian au avut nevoie de aproape doi ani pentru desavarsire Nightfall in Middle Earth. Iar pentru ca echipa castigatoare nu se schimba, trupetii s-au intors in studioul lui Flemming Rasmsussen, unde au inregistrat cele 22 de piese gasite pe acest nou disc. Si daca pana in acest moment pe albumele discului se puteau intalni o multime de referiri la scrierile lui JRR Tolkien, de data aceasta intregul album este inspirat din opera maestrului genului fiction britanic, in interiorul copertilor aparand, pe langa versurile melodiilor, si unele capitole din The Simarillion, cartea pe care s-a bazat acest album. Discul prezinta un metal greu si in forta, cu compozitii mult mai agresive decat pe cel precedent, cu faze speed si power ca in perioada de debut, combinate cu elemente orchestrale opulente si epice, intercalate cu pasaje acustice, linistite, cu o atmosfera aproape renascentista. Un alt punct castigat de cei patru nemti este lansarea oficiala in afara batranului continent a discului, realizata de catre Century Media. Si pentru ca Hansi Kursch s-a ocupat de partile vocale mai mult decat in trecut, pe parcursul turneului de promovare Oliver Holdsworth a fost invitat sa preia partitura de bass. Dupa un scurt hiatus in care Hansi Kursch a fost ocupat de realizarea extraordinarului proiect Demons & Wizards, alaturi de chitaristul Jon Schaffer de la Iced Earth, urmata de o perioada de recuperare a aceluiasi Hansi in urma unor probleme de auz, cei patru s-au pus din nou pe munca, efortul de productie depasindu-l chiar pe cel al albumului anterior. Primul single, intitulat "and Then There Was Silence" (primul single editat vreodata si de noua lor casa de discuri, Century Media) si aparut la inceputul toamnei trecute contine o secventa epica de nu mai

putin de 14 minute, produsa (la fel ca si noul albumul) de catre Charlie Blauerfeind (Angra, Helloween, Gamma Ray) si a necesitat nu mai putin de 4 luni pentru a fi inregistrata, pe 128 de piste, dintre care 50 pentru voce si 30 pentru chitari! Pentru intreg albumul trupa a petrecut nu mai putin de 13 luni inchisa in studioul propriu, rezultatul fiind intitulat, la fel ca si capodopera grupului britanic Queen, A Night at the Opera. 10 compozitii in aceiasi maniera power, marcate de o multime de pasajele pompoase, coruri medievale si o bogata orchestratie. Tehnica vocala a lui Hansi este o combinatie de canto, tipete inalte specifice scenei heavy metal si pasaje melodioase imprumutate de pe scena progresiva, punctul forte al albumului fiind insa corurile, a caror integrare in muzica Blind Guardian este facuta cu o maiestrie desavarsita, sound-ul marcand o reintoarcere la perioada Imaginations from the Other Side. Din fericire cariera nemtilor nu se incheie aici, cohorta de fani stransa pe intreg mapamondul fiind, conform spuselor lui Hansi, principala forta motrice a teutonilor. Probabil si faptul ca au ramas credinciosi crezurilor de la inceputul carierei muzicale, si faptul ca nici o modificare de componenta nu a intervenit in peste 15 ani de activitate sunt unele dintre elementele ce au facut ca fiecare nou album sa fie un pas peste cele precedente. Istoria Blind Guardian continua

Mihai Orzan

BLINDGUARDIANLYRICS
album: "Lucifer's Heritage: Symphonies Of Doom" (1985 DEMO)
Halloween Brian Dead of the Night Symphonies of Doom Lucifer's Heritage

album: "Lucifer's Heritage: Battalions Of Fear" (1986 DEMO)

Majesty Trial by the Archon Battalions of Fear Gandalf's Rebirth Run for the Night

album: "Battalions Of Fear" (1988)

Majesty Guardian Of The Blind Wizard's Crown Run For The Night The Martyr Battalions Of Fear

album: "Follow The Blind" (1989)

Banished From Sanctuary

Damned For All Time Follow The Blind Hall Of The King Fast To Madness Beyond The Ice Valhalla Barbara Ann

album: "Tales From The Twilight World" (1990)

Traveler In Time Welcome To Dying Weird Dreams Lord of the Rings Goodbye My Friend Lost In The Twilight Hall Tommyknockers Altair 4 The Last Candle Run For The Night

album: "Somewhere Far Beyond" (1992)

Time What Is Time Journey Through The Dark Black Chamber Theatre Of Pain The Quest For Tanelorn Ashes To Ashes The Bard's Song - In The Forest The Bard's Song - The Hobbit The Piper's Calling Somewhere Far Beyond Spread Your Wings Trial By Fire Theatre Of Pain

album: "Imaginations From The Other Side" (1995)

Imaginations From The Other Side I'm Alive A Past And Future Secret The Script For My Requiem Mordred's Song Born In A Morning Hall Bright Eyes Another Holy War And The Story Ends

album: "The Forgotten Tales" (1996)

Mr. Sandman

Surfin' USA Bright Eyes (Acoustic) Lord Of The Rings (Acoustic) The Wizard Spread Your Wings Mordred's Song (Acoustic) Black Chamber (Acoustic) The Bard's Song - In The Forest (Live) Barbara Ann Long Tall Sally A Past And Future Secret (Acoustic) To France Theatre Of Pain

album: "Nightfall In Middle-Earth" (1998)

War Of Wrath Into The Storm Lammoth Nightfall The Minstrel The Curse Of Feanor Captured Blood Tears Mirror Mirror Face The Truth Noldor (Dead Winter Reigns) Battle Of Sudden Flame Time Stands Still (At The Iron Hill) The Dark Elf Thorn The Eldar Nom The Wise When Sorrow Sang Out On The Water The Steadfast A Dark Passage Final Chapter (Thus Ends...)

album: "Mirror Mirror" (1998)

Mirror Mirror And The Story Ends (Live) Imaginations From The Other Side (Live) Beyond The Realms Of Death

album: "Don't Talk To Strangers" (1999 SINGLE)

Don't Talk To Strangers

album: "Mister Sandman" (1999 SINGLE)

Mister Sandman Bright Eyes (Edited Version) Hallelujah Imaginations From The Other Side (Demo Version) The Script For My Requiem (Demo Version)

album: "And Then There Was Silence" (2001 SINGLE)

And Then There Was Silence Harvest Of Sorrow

album: "A Night At The Opera" (2002)

Precious Jerusalem Battlefield Under The Ice Sadly Sings Destiny The Maiden And The Minstrel Knight Wait For An Answer The Soulforged Age Of False Innocence Punishment Divine And Then There Was Silence Mies Del Dolor Harvest Of Sorrow Frutto Del Buio La Cosecha Del Dolor Moisson De Peine

album: "Live" (2003)

War Of Wrath Into The Storm Welcome To Dying Nightfall The Script For My Requiem Harvest Of Sorrow The Soulforged Valhalla Majesty Mordred's Song Born In A Mourning Hall Under The Ice Bright Eyes Punishment Divine The Bard's Song Imaginations From The Other Side Lost In The Twilight Hall A Past And Future Secret Time Stands Still Journey Through The Dark Lord Of The Rings Mirror Mirror

Varg Vikernes Biography

Varg Vikernes was born on the 11th of February 1973, at 21:58, in Bergen Norway. Some might have preferred it to be at 6 o'clock on the 6th day of the 6th month; others might see the 8th day of the 8th month as more fitting. Either way, the date remains something concrete in a life that would become steeped in mythology, legend and indeed modern folklore. There are many things that can be said about Varg and his band, Burzum. I could use this section simply to tell you the basic 'facts', but -dramatic as they may be- they wouldn't come close to giving you a full picture of what Burzum truly represents. It is because of the fact that Burzum needs to be considered holistically that it is Varg is so often misunderstood. There are endless stories and anecdotes to tell, but unless you have heard them all - or none - you can't begin to understand it. As Varg himself often says, Fama Crescit Eundo, the rumour grows as it travels. In some ways it might be suggested that Burzum has gained a momentum beyond even its progenitor's control. But whatever I might be able to portray in these words, no one can really begin to comprehend Burzum without having heard the music. As dramatic as his story may be, it is intrinsically linked to the soundtrack it has been played out against. Listening to the music will tell you more about the entity that is Burzum than 10,000 words here ever would. I do not want this piece to become a particularly detailed biography, because most of you reading this will already be aware of many details of Varg's saga. For those who know little about him, I will present a brief history here, and for a more comprehensive version I recommend people obtain the book Lords of Chaos, by Michael Moynihan and Didrik Sderlind. Though far from perfect, it presents a more accurate overview of the events than you are likely to get from the mainstream music magazines. Instead I will use this section to focus primarily on why Burzum is important and to whom. Except during a year in Iraq (while his father was on business), Varg grew up in Bergen, Norway. Without a hint of sentimentality, he describes it to me: "If you like forests and Wilderness you would love Bergen. We have a lot of Urwlder, wild animals, grim mountains and wilderness. Some places the forest is so dense you have to crawl to get anywhere. Some places the best -if not only - way to move around is to find a brook, and move along its course, jumping from rock to rock". This conjures up almost an image of the Golden Age, a literary concept dreamt up by Greek and Latin poets, of an ancient pastoral haven of nature before men went to live in cities and lost their sight of Mother Earth. Such idyllic settings seem almost unrealistic, but they are a very real part of life in Bergen, if you look for it. Of course the truth is that not many people do look for it these days, and whilst it was early industrialisation that finally put an end to the poets' dreams of the Golden Age, it was the arrival of Christianity that pulled the pagan Norwegians away from nature. Thus perhaps it should not be so surprising that such a peaceful setting was the environment that forged Varg's ideology. Many years later, Varg commented in an interview that people who seek to understand him should "take a walk in the middle of a winter night in a forest all alone, and you will understand what I mean: it actually speaks." If the forest could speak, the setting might not seem so peaceful, because a forest in Norway represents a force of nature that has been robbed - Christianity deserted it of its people 1000 years ago. Only recently, with the advance of Black Metal and heathenism, have the forests begun to be re-populated with people who seek their power.

Right from the beginning Varg seems to have had this sublime link with the nature around him. I do not mean this in a metaphysical sense, rather in a very practical way: Varg had (and always will have) a powerful imagination, and where others see just 'trees' he sees a landscape steeped in saga, with trolls and elves dancing between the shadows. The last Norwegian who saw this was the artist Theodor Kittelsen, who painted fantastical images of the Norway in his mind's eye, of the wondrous nature which ignited the powder keg of his imagination. After Kittelsen people succumbed totally to the Judeo-Christian focus on subservience and materialism, so they stopped looking and so the elves have long since disappeared. It is no coincidence that Varg chose to use Kittelsen paintings for a number of his album covers. As a teenager the late 80's, Varg became interested in metal music, and certainly a part of that attraction was the element of rebellion that is associated with "metal". The idea of rebelling against the status quo is still very much a part of Burzum and Black metal and Heathen beliefs, simply because Judeo-Christianity is currently in power, and so the onus is on us to instigate it's upheaval with a revolution of some sort. Of course there are many bands which represent 'rebellion' (to varying degrees), but there is no use decrying the current state of society unless you can present an alternative. Metal music is an abundance of creative energy, but unless it is focussed it can easily be manipulated by society at large. What makes Burzum special - and what elevates it above mere 'rebel' status - is that Varg has a very definite vision of a new society and has very real aims (backed up by very real actions). If you walk down a street wearing an Anal Cunt shirt, you might get the message across to certain people that you hate them, hate society and hate its values. If you wear a Burzum shirt, you get the message across that you hate society and its values and you are working to create a new society with new values. This aspect is what 'the powers that be' fear most about Burzum. Just being angry at society does nothing, you are filling the vital sociological role as the voice of dissent and are in fact strengthening current society as a whole. To change the fabric of society you need to have a vision, a new set of beliefs for people to adopt. This is what makes Burzum a movement in its own right. Back to the late 80's though, and Varg was still in the formative stages of his political and musical vision. He played sporadically in a number of bands (such as Satanel and Old Funeral), but none of them really excited his imagination - and indeed by being "typical death metal" they actually represented the kind of conformity he had sought to avoid. Instead he focussed on making his own music, inspired by Tolkienesque landscapes populated by his rich imagination. At the start of the decade this turned into his solo band, Burzum. Though he once allowed a session musician to record bass tracks, Burzum has

always been the sole responsibility of Varg Vikernes, and the music is so dependant on his personal brand of genius that it is hard to imagine how anyone else could be involved, how anyone else could tap into the same creative and imaginative resource. In many ways it is essential that this so, because Varg's own vision shapes his music just as his musical vision shapes him; the special equilibrium which results is Burzum, and it is hard to see how anyone else could fit into that. The first, self-titled, Burzum album was released in 1992 by Deathlike Silence Production, the record company of ystein Aarseth (Euronymous), front man for Mayhem. Mayhem, like Burzum, was one of the original 'Black Metal' bands, a new genre which sort to fuse some of the themes of Death metal with haunting atmospheres and Pagan lyrics. What followed was a roller-coaster ride of events, that left many of Norway's most famous churches burned to the ground, Euronymous (amongst others) dead, and Varg jailed (albeit with his new status of social revolutionary). I will not describe all of this here since there are many interpretations of the facts and you will find the various details elsewhere on this webpage. Instead I will examine a few specific incidents. Fantoft Kirke, a Stave church five miles south of Bergen, had stood since the 12th century (even having being dismantled and rebuilt in 1883), regarded as one of the most prestigious churches in Norway. In the early hours of June 6th 1992 it was burnt to the ground by a member of the neo-Heathen army which had emerged from the Norwegian black metal scene. Just as Varg forged the musical direction of the scene, he also led the militant side of the movement (though the Norwegian police never did find much genuine evidence in his trial). By this time Varg had long identified Judeo-Christianity as the 'spiritual plague' which had destroyed Norway's heathen roots - and had resolved to do something about it.

To understand the symbolism behind the church arsons we need to stop and think for a moment. Clearly there is the obvious implication - by burning Christianity's temples one wages a war against it. Then there is the theme of revenge. A thousand years ago the Christians desecrated heathen temples in Norway, and burnt heathens at the stake. Varg has always declared himself a soldier of Odin, and the pagan religions have much to be avenged for. A church like Fantoft Kirke stands surrounded by nature. As Varg would point out, that does not mean it is part of nature. Indeed, the fact that it stands in nature is even more of an afront to Paganism than if it were hidden away in a city. We have already discussed how modern Judeo-Christianity dragged people to the cities away from nature. Having churches standing

in the forests represents not just an abandonment of nature but also an invasion. Thus to someone like Varg burning a church is removing a blemish from the pagan landscape, freeing nature from its Judeo-Christian chastity belt. Varg (using his nom de guerre Count Grishnackh) and Euronymous were the two most prominent figures in the Black metal scene, and despite a considerable degree of cooperation early on they quickly fell out with each other. Whereas Euronymous wanted to pursue a more "Satanic" image (both musically and ideologically), Varg felt that "Satan" was just another component in the Judeo-Christian mythology and that the Judeo-Christian mode of thought needed to be dropped entirely. His vision had instead developed toward a revival of the Norse Gods and a rediscovery of the true Norwegian race and culture. The two had also fallen out on various other issues, and before long their dispute became public. On the 10th of August 1993 Varg drove to Euronymous' Oslo flat. A fight developed, and Euronymous was stabbed to death. I will not go into long detail about the killing here, but to say that Varg believed Euronymous was planning to kill him (as Euronymous' posthumous tribute album confirmed). Mayhem (these days signed to Burzum's record label) recently said that Euronymous had visited a fortuneteller some weeks before he was killed, and was told that Varg would soon be in jail for murder. Reasoning that he could well be the one killed, Euronymous made plans to pre-empt the event and kill Varg first - thus precipitating his own death and fulfilling the prophecy. Such a sense of fatalism and indeed self-imposed notion of saga is more reminiscent of the fables of Greek Gods than of musicians. Perhaps without even realising it Varg had a way to ignite the imagination of the people - quite simply he was playing out a true Norse saga in the late 20th century. Even if the people had forgotten the tales of Odin, Balder and Thorr, their imaginations would soon be sparked by the modern-day tales of Count Grishnackh and Euronymous that confronted them on the front pages of Norwegian newspapers every morning. To a large extent, this notion of a 'saga' explains the considerable number of Burzum fans who do not actually agree with many of Varg's ideas. When we read Shakespeare's Macbeth we are fascinated by the character, by his actions, by his poetry, even though we would not want to live under his rule. In the same way many people are fascinated by Varg's actions, his saga, his music, though do not agree with everything he says. For them a Burzum record represents something that is above the mediocrity of everyday life, a small piece of a real life tale the likes of which is usually confined to the cinema screen or the pages of a novel. To many people the world of Varg Vikernes is so different to their own reality that it is like stepping into an alternate universe. To this end it is not important which character in that universe Varg represents - the Orc 'Grishnackh' in Tolkien's books (where Varg got the name) might be an 'evil' one, but he is no less important to a Tolkien reader than a 'good' character might be. The vital point is that for many people Burzum represents a living link to a world that can otherwise only be imagined. So to many people his actions are beyond scrutiny, they are simply part of the story, a chapter in the saga. The fact that the phenomenal music acts almost as soundtrack to the events makes this alternative reality even more immersive. Whereas many 'rock' musicians have an 'image' that everyone knows is fake, Varg lives his life the way he plays his music - therein lies his charisma. It might even be said that his music is so powerful that it has shaped his life, almost like a creation that has grown beyond the creator's control. Christianity dictates, Burzum describes. To a certain extent I do not think Varg expects - or needs - everyone to agree with him, because Burzum is more than just music and politics, it is a place "for mortals to dream". In awakening the largely dormant imagination of the people, Varg has his best chance of instigating a heathen revolution and overthrowing the current servile mode of life that dominates modern society.

Following the killing of Euronymous, the 20th century witnessed perhaps its last 'show trial', one Stalin might have been proud of. To ensure that the prosecution got the maximum sentence there was little chance of a fair trial; evidence was flawed, the jury was not sequestered and even those who gave testimony were later committed of perjury. But by this time Varg was the most famous person in Norway and there was frenzied coverage of the trial in the Norwegian media. Varg used this to his advantage; every newspaper headline quoted his views and in many ways even though he was not allowed to give evidence, the courtroom itself became a platform for him to reach out to all of Norway. During the trial Burzum became known worldwide and England's Misanthropy Records was created for the express purpose of re-releasing the Burzum albums outside Norway. In jail Varg set about educating himself further in the history of Scandinavia and Germany. He developed further his ideas the revival of the Pagan spirit, and set up the Norsk Hedensk Front (NHF) dedicated to saving the Germanic peoples from the clutches of JudeoChristianity. There was also an increased focus on culture and race, though in much more considered way than Varg is sometimes given credit for. The subsequent musical development naturally paralleled the new ideological development, and Varg completed the progression away from 'metal' music to play only on keyboards (though still very much in the style of Burzum). We have already spoken about one section of Burzum fans, who follow Varg for his saga. For those people progression is easier to handle because it simply represents the next chapter in the 'story'. The other group of Burzum fans identify very closely with Varg's precise beliefs, and so every development is more difficult to keep with. It has been suggested in Lords of Chaos that "in his role as modern day heretic" Varg has "pushed the line out so far in the distance that no one will ever catch up with it". The evidence does not support this. Burzum was the first Black metal band to use synth tracks and slow sections - today you could not find many black metal bands that don't. Varg recorded his first totally ambient album in late 1994 (in jail) - by the time it was released in 1997 the Pagan-ambient style had become a genre in itself. Burzum has always been one step ahead, always evolving, but never losing sight of it's fundamental one-eyed heathen vision. Certainly as his views develop he is seen as more and more extreme, and people will find it increasingly difficult to keep up with him. Varg makes no apologies for this. He will not - can not - compromise his vision, the vision which created Burzum in the first place. His saga will continue, and there are more chapters to come. In trying to assess Burzum people often try and separate the music from the man, and sometimes this can be useful. But perhaps the two are irrevocably linked - Varg Vikernes is so far still the only musician to have crossed the border from fantasy to reality and put into practice his beliefs in a bid to forge his own destiny. As to whether he succeeded is debatable, but for a short time at least he led a musical movement like none before it. A blaze in the Northern sky, no less.

Burzum
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Burzum began in 1987 as a prominent Norwegian black metal solo project. It was formed by Varg Vikernes (born Kristian Vikernes), under the name of Count Grishnackh. Vikernes is currently serving a prison sentence in Norway for murder and arson. Vikernes, an extreme right-wing white supremacist and Odalist, was instrumental in the crystallisation of early black metal (ironic since Vikernes would later admit to not liking the genre at all), much of which is due to the infamy attributed to Vikernes since the murder of his former band mate (Varg played bass on one of Mayhem's albums) ystein Aarseth. Aarseth is known better to some by his stage name of "Euronymous."

Burzum name in gothic writing (not a logo) [1]

Contents
[hide]

1 Biography 2 Discography o 2.1 Studio releases o 2.2 Live and compilation releases o 2.3 Demos o 2.4 Bootlegs o 2.5 Tribute albums 3 Band members o 3.1 Former members

4 External links [edit]

Biography

Cover of "Hvis Lyset Tar Oss" In 1988 or 1989, Varg Vikernes formed a group called Kalashnikov (named after the Kalashnikov assault rifle), which eventually changed its name to Uruk-Hai. Uruk-Hai means "orc race" in the Black Speech of Middle-earth from the works of J. R. R. Tolkien. In 1989, Vikernes broke away from Uruk-Hai to join the death metal act Old

Funeral. Uruk-Hai's drummer and bassist, Vikernes claims, were neither serious nor talented musicians, but this was not the case with the members of Old Funeral (who were also members of the side project Amputation, which eventually went on to form the black metal group Immortal). Vikernes remained with Old Funeral for two years, deciding in 1991 to create a solo project instead, in which he could write and record a "more original and personal type of music" (some consider Burzum to be a progression of the band Uruk-Hai, for several of the same riffs are used in Vikernes' compositions). Varg intended the Burzum project to be an anonymous effort, which was the reason behind his taking the name of Count Grishnackh. Burzum's early music shows a moderate Tolkien influence; for example, the name Count Grishnackh is taken from an orc character called Grishnkh in Tolkien's works. The choice of the name for the project reflects both this influence and the desire for anonymity: "Burzum" is a word of the Black Speech of Mordor meaning "darkness", and is one of those found on the Ring-inscription of the One Ring (the final part of the Ring inscription being "...agh burzum-ishi krimpatul", "...and in the darkness bind them"). Some of Burzum's early songs featured titles like "En Ring Til Herske" ("One Ring To Rule"); however, Vikernes later explained this to be a reference to the Rheingold of Norse mythology rather than to Tolkien's works, which themselves owe some debt to Norse mythology. As he continued to release albums, Vikernes' attraction to Norse mythology and Pagan beliefs became more and more apparent. Much of Burzum's later work focuses on Norse legends, especially his most recent two ambient albums: Daui Baldrs, which deals exclusively with the legend of the death of Baldr, and Hliskjlf, which recounts the death of Wotan and the approach of Ragnarok. Musically, Burzum has progressed from primitive, raw black metal to classicalinfluenced ambient music characterised by minimalist tendencies and dark atmospheres. Vikernes' music is generally considered to be characterised by hypnotic repetition and simple yet profound song structures; this trademark sound has been present on Burzum's black metal and synthieval albums alike. Vikernes has described Burzum as a kind of "spell" or recreation of an imaginary world tied in with Pagan history. Each album, he claims, was designed as a kind of "spell" in itself, with each beginning song intending to make the listener more susceptible to "magic", the following songs to inspire a "trance-like state of mind", and the last song to carry the listener into a "world of fantasy" (dreams, for the listener would fall asleep - Burzum was supposed to have been evening music). Vikernes claims that the intent to create this fantasy world came from dissatisfaction with the real world. He has stated that the "message" of Burzum can be found in the lyrics of the first song of the first album (Feeble Screams From Forests Unknown); that following lyrics act as footnotes.

Count Grishnackh (Varg Vikernes) Currently, Vikernes is in prison for the murder of his former friend and fellow musician ystein Aarseth (Euronymous of Mayhem), as well as the arson of several ancient Norwegian churches. Vikernes is suspected to have taken part in various other crimes, and was believed to have been planning another church burning at the time of his arrest (police found 100 kg of explosives in his home). In 2004 during a week long release from prison, he failed to be back in the preordained time. Some days later he was found riding a stolen car and having a gun and fake passport. Even though he claimed unawareness he got some more years in his sentence. Vikernes was formerly a member of the far-right extremist group "Hvit Arisk Motstand" ("White Aryan Resistance"), and was once involved with the "Norsk Hedenske Front" ("Norwegian Heathen Front"). He has expressed interest in NeoNazism and has written several books dealing with his worldview. Although this is true, Vikernes did not express his National Socialist worldview in Burzum. Vikernes has released two Burzum albums from prison: Daui Baldrs and Hliskjlf. Both albums rely only on keyboards and - in Vikernes' own estimation - are not related to the black metal genre. The Filosofem (1996) album was released to the public after Vikernes had been imprisoned. For the longest part of his incarceration, Vikernes claimed to have renounced any connection with black metal and heavy metal music in general, but a recent interview suggests that with the possibility of a probation release during April of 2006, he will continue with Burzum in much the same vein as the first four albums. He still claims, however, to have little respect for the trappings of heavy metal culture and absolutely detests the "sex, drugs, and rock n' roll" aspect of metal music. Though Varg Vikernes does admit to disliking metal's "non-Aryan" origins, he claims that this is not why Burzum's music has become more ambient and less guitar-based. It is in fact due to him not being allowed to have certain instruments and equipment in his prison cell. Also, he does not in fact hate his earlier work and Hvis Lyset Tar Oss is his favourite Burzum release. The Filosofem album did however produce an experimental 8 minute ambient video from British artist/director David Palser, who employed stylistic images of the

Norwegian landscape combined with the Rune-Poem of the Elder Futhark, in what has sometimes been described as "the most pure black metal video" of the genre. Many of the Burzum albums feature illustrations by the Norwegian 19th century artist Theodor Kittelsen (1857-1914). [edit]

Discography
[edit]

Studio releases

Burzum (Promo) 1992 - (1992) Burzum - (1992) (Reis. 1995) (Guitar Solo on the track "War" was played by ystein Aarseth, also known as Euronymous from norwegian black metal band Mayhem) Aske [EP] - (1993) (Reis. 1995) Det Som Engang Var - (1993) Hvis Lyset Tar Oss - (1994) Filosofem - (1996) Daui Baldrs - (1997) Hliskjlf - (1999)

BURZUM LYRICS
album: "Burzum" (1991)
Feeble Screams From Forests Unknown Ea, Lord Of The Deeps Black Spell Of Destruction Channelling The Power Of Souls Into A New God War The Crying Orc A Lost Forgotten Sad Spirit My Journey To The Stars Dungeons Of Darkness

album: "Det Som Engang Var" (1992)

Den Onde Kysten Key To The Gate En Ring Til Aa Herske Lost Wisdom Han Som Reiste

Naar Himmelen Klarner Snu Mikrokosmos Tegn Svarte Troner

album: "Aske" (1992)

Stemmen Fra Taarnet Dominus Sathanas A Lost Forgotten Sad Spirit

album: "Hvis Lyset Tar Oss" (1993)

Det Som En Gang Var (Was Einst War) Hvis Lyset Tar Oss (Wenn Das Licht Uns Nimmt) Inn I Slottet Far Droemmen (In Das Schloss Der Traeume) Tomhet (Leere)

album: "Filosofem" (1996)

Burzum (Dunkelheit) Jesu Dod (Jesus' Tod) Beholding The Daughters Of The Firmament (Erblicket die Tchter des Firmaments) Decrepitude .I. (Gebrechlichkeit .I.) Rundtging Av Den Transcendentale Egenhetens Sttte (Rundgang um die transzendentale Sule der Singularitt) Decrepitude .II. (Gebrechlichkeit .II.)

album: "Daudi Baldrs" (1997)

Daudi Baldrs Hermodr A Helferd Balferd Baldrs I Heimr Heljar Illa Tidandi Moti Ragnargkum

album: "Hlidskjalf" (1999)

Tuistos Herz (Tuisto's Heart) Der Tod Wuotans (The Death of Wuotan) Ansuzgardaraiwo Die Liebe Nerpus' (Nerpus' Love) Das einsame Trauern von Frijo (The Lonesome Mourning of Frijo) Die Kraft de Mitgefuehls (The Power of Empathy) Frijos goldene Tranen (Frijo's Golden Tears) Der weinende Hadnur (The Crying Hadnur)

CLICK ON THE ALBUM COVER TO VIEW THE INFORMATION

Burzum (Demo I) 1991

Burzum (Demo II) 1991

Burzum (Promo) 1992

Burzum 1992

Aske (mini-LP) 1993

Det Som Engang Var 1993

Hvis Lyset Tar Oss 1994

Filosofem 1996

Daui Baldrs 1997

Hliskjlf 1999

BURZUM COMPILATIONS
CLICK ON THE ALBUM COVER TO VIEW THE INFORMATION

Burzum/Aske 1995

Burzum 1992-1997 1998

Presumed Guilty 1998

Gummo (Soundtrack) 1998

Burzum Anthology 2002

Fenriz Presents... 2004

BURZUM TRIBUTES
CLICK ON THE ALBUM COVER TO VIEW THE INFORMATION

Visions 2002

A Man, A Band, A Symbol 2003

Wotan Mit Uns! 2003

The Tribute 2005

Burzum Tribute Attakk 2005

The Beatles
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The Beatles The Beatles a fost unul dintre grupurile a crui muzic a fost cea mai influent pentru era rock care a urmat. Grupul a fost alctuit din John Lennon (vocal, chitar ritm), Paul McCartney (vocal, chitar bas), George Harrison (chitar solo) i Ringo Starr (baterie). Ei au avut ca int generaiile de tineri rezultate de dup al doilea rzboi mondial, n Anglia, SUA, etc. Fr dubiu, "The Beatles" este cel mai faimos i de succes grup n istoria muzicii rock, contoriznd peste 1,1 miliarde de discuri vndute n lumea ntreag. n timp ce, iniial au devenit faimoi pentru ceea ce unii au etichetat drept muzic pop, lucrrile lor de mai trziu au realizat o combinaie de laude att din partea criticilor ct i din partea asculttorilor inegalat n secolul XX. n cele din urm, ei i-au dovedit nu doar talentul de muzicieni, au pit grania spre cinematografie, i n particular, n cazul lui John Lennon este vorba de activism politic. McCartney l-a cunoscut pe Lennon pe 6 iulie 1957, i a intrat n formaia acestuia, numit The Quarrymen, pentru care McCartney l-a recrutat pe Harrison, amicul su de coal n vrst de numai 15 ani. Trupa s-a desprit pentru scurt timp dup care sa reunit. Grupul sufer mai multe schimbri att ca nume ct i ca membri, i devine n cele din urm n 1960, The Beatles. n 1962 au semnat un contract cu Parlophone, membra a EMI, iar primul album al formaiei, Please please me, a fost nregistrat n doar 12 ore consecutive. Mania pentru Beatles a nceput n Anglia pe 13 octombrie 1963 cu o apariie televizat la London Palladium, i a explodat apoi n SUA, n urma a 3 apariii a trupei n "The Ed Sullivan Show", pe 9 februarie, 16 februarie i 23 februarie 1964. Aceast trup, ce cnta muzic pop pe atunci, a devenit n scurt timp un fenomen mondial cu fani care-i adorau pe membrii trupei, cu adulaii isterice din partea fanilor, i condamnri din partea comentatorilor culturali i alii, printre care i Frank Sinatra.

O parte a criticii adresate trupei i avea originea n confuzia asupra surselor muzicii lor (o confuzie asemntoare a planat i asupra lui Elvis Presley n 1956, criticile provenind de la persoane care nu cunoteau tradiia muzicii blues, R&B i Gospel din care rzbtea Elvis) iar o parte era cauzat de reacia nencreztoare cu privire la lungimea prului membrilor The Beatles. n 1964, ei au ocupat primele 5 poziii ale Hot 100 din revista Billboard, o realizare care nu a mai fost repetat. n 1965, cei 4 au fost desemnai Membrii Ordinului Imperiului Britanic. n acelai an Lennon i Harrison au nceput s consume LSD, iar McCartney ceva mai trziu, spre sfritul anului 1966 Lennon a afectat imaginea The Beatles, n anul urmtor, cnd a afirmat ntr-un interviu c, religia cretin este pe moarte, susinnd c Beatles e mai popular ca Iisus. n cele din urma, i-a cerut scuze, dup ce a fost criticat foarte dur de ctre grupuri religioase, dup ce albumele lor au fost interzise sau chiar arse n ri din America de Sud, i dup ce au primit ameninri din partea unor grupuri ca Ku Klux Klan. The Beatles, dup concertul din Candlestick Park, din San Francisco, pe 29 august 1966, i-au concentrat forele n studioul de nregistrri, noile compoziii i experimente muzicale ridicndu-le reputaia artistic n mod remarcabil pstrndu-i totui uriaa popularitate. ns, soarta financiar a grupului a luat o ntorsur nefavorabil atunci cnd managerul lor, Brian Epstein, a murit pe 27 august 1967. Dup aceasta, membrii trupei i-au urmat interesele individuale i s-au ntlnit tot mai rar. Ultimul lor concert este considerat a fi apariia live pe acoperiul studio-urilor Apple, din Londra, n ianuarie 1969, i a aprut compilat n albumul "Let it be". Oficial, Beatles s-a destrmat n 1970, i orice speran a unei reuniuni a fost zdrobit cnd Lennon a fost asasinat de ctre Mark David Chapman n 1980. Totui, o reuniune virtual a avut loc n 1995, odat cu lansarea a doua nregistrari ale lui Lennon, la care i-au adus contribuia i ceilali 3 membri Beatles. Au rezultat piesele "Free as a bird" i Real love". Au mai fost lansate, de asemenea, 3 albume ce conineau material nelansat anterior, precum i un documentar, proiect cunoscut sub numele The Beatles Anthology. [modific]

Discografie

Please Please Me, 22 martie 1963 With the Beatles, 22 noiembrie 1963 A Hard Day's Night, 10 iulie, 1964 Beatles for Sale, 4 decembrie, 1964 Help!, 6 august, 1965 Rubber Soul, 3 decembrie, 1965 Revolver, 5 august, 1966 Sgt. Pepper's Lonely Hearts Club Band, 1 iunie, 1967 Magical Mystery Tour, 8 decembrie, 1967 The Beatles, 22 noiembrie, 1968 Yellow Submarine, 13 ianuarie, 1969

Abbey Road, 26 septembrie, 1969 Let It Be, 8 mai, 1970

The Beatles
From Wikipedia, the free encyclopedia

Jump to: navigation, search The Beatles

John Lennon, Paul McCartney, George Harrison, and Ringo Starr in 1964, during their first American tour.

Origin Country Years active Genre(s)

Liverpool England 1958 - 1970 Rock Pop Psychedelic Parlophone Capitol Apple Odeon Vee-Jay United Artists Atco Swan John Lennon Paul McCartney George Harrison Ringo Starr Pete Best Stuart Sutcliffe www.beatles.com

Label(s)

Members

Past members Website(s)

The Beatles were a pop and rock music group from Liverpool, England, who continue to be held in the very highest regard for their artistic achievements, their huge commercial success, and their ground-breaking role in the history of popular music. Consisting of John Lennon (19401980), Paul McCartney (1942), George Harrison (19432001) and Ringo Starr (1940), the group's innovative music and style helped define the 1960s. The Beatles were, by most definitions, the biggest musical act of the twentieth century. In the United Kingdom alone they have had more than forty different singles, albums and EPs reach number one. This kind of success has been repeated in many more countries and EMI estimated that by 1985, the band had sold over one billion records worldwide.[1] Their ballad "Yesterday", written by McCartney, may well be the most-covered song in the history of recorded music.[2] Their early original material fused elements of early American rock 'n roll, pop, and R&B into a new form of popular rock 'n roll. The band almost single-handedly kickstarted the British Invasion, laid the groundwork for the rock culture of the 1960s, and established the prototype for the self-contained rock group. They helped pioneer more advanced, multi-layered arrangements in both rock and pop and were instrumental in the development of some of 1960s rock's dominant styles, such as folk-rock and psychedelia. To a significant extent, the impact of The Beatles extended well beyond music. Their clothes, hairstyles, actions, and even choice of instruments made them trend-setters (see The Beatles' influence on popular culture) throughout the decade, while their growing social awareness, reflected in the development of their music, saw their influence extend into the social and cultural revolutions of the 1960s.

Contents
[hide]

1 History o 1.1 Formation and early years o 1.2 Beatlemania o 1.3 Backlash and breakup o 1.4 After the breakup 2 Studio style evolution 3 On film 4 Influences 5 Changes in their music 6 Instrumentation 7 Discography 8 Song catalogue 9 Song samples o 9.1 1965 o 9.2 1966 o 9.3 1967 o 9.4 1968 o 9.5 1969

10 See also 11 References 12 Notes 13 Further reading

14 External links [edit]

History

Singer & rhythm guitarist John Lennon became known for his political activism, as well as his love for guitar-centered rock and roll. Main article: History of The Beatles [edit]

Formation and early years

In March 1957 John Lennon formed a skiffle group called The Quarrymen (fleetingly known as The Blackjacks). In July that year Lennon met Paul McCartney while playing at the St. Peter's Church Garden Fete. In February 1958 the young guitarist George Harrison joined the group, which was then playing under a variety of names. A few primitive recordings of Lennon, McCartney and Harrison from that era have survived. During this period, members continually joined and left the line up. Lennon, McCartney, and Harrison were the only constant members. The Quarrymen went through a progression of names: Johnny and The Moondogs, Long John and The Silver Beetles, The Silver Beetles, and eventually arrived at the name of The Beatles. The origin of the name "The Beatles" with its unusual spelling is usually credited to John Lennon, who said that the name was a combination wordplay on the insect "beetles," a nod to Buddy Holly's band (The Crickets) and the word "beat". He also later said that it was a joke, meaning a pun on "Beat-less". In 1960 their unofficial manager, Allan Williams, arranged for them to perform in clubs on the Reeperbahn in Hamburg, Germany. In August 1960 McCartney invited Pete Best to become the group's drummer. Mona Best (Pete's mother) ran The Casbah Club; a cellar club in Hayman's Green, where the Beatles had played.

While in Hamburg, The Beatles were recruited by singer Tony Sheridan to act as his backing band on a series of recordings for the German Polydor Records label, produced by famed bandleader Bert Kaempfert. Kaempfert signed the group to its own Polydor contract at the first session in June 1961. On 23 October Polydor released the recording "My Bonnie (Mein Herz ist bei dir nur)", which made it into the German charts under the name "Tony Sheridan and The Beat Brothers". Upon their return from Hamburg, the group was enthusiastically promoted by Sam Leach, who presented them over the next year and a half on various stages in Liverpool forty-nine times. Brian Epstein, manager of the record department at NEMS, his family's furniture store, took over as the group's manager in 1962 and led The Beatles' quest for a British recording contract. Epstein met with producer George Martin of EMI's Parlophone label. Martin, a well-known producer of comedy and novelty albums, expressed an interest in hearing them in the studio. On 6 June he invited the quartet to London's Abbey Road studios, and decided to grant The Beatles a recording contract. Their contract was probably one of the worst at the time, as they were paid one farthing for every single sold. Their royalties were considerably improved after Allen Klein took over the management of the band. Their publishing contract with Dick James Music (DJM) was also terrible; they only got 50% of the money received, while James took the other 50%. Epstein also took a percentage of Lennon and McCartneys share. The Beatles' line-up was still changing. In spring 1962 the fifth member of The Beatles, bassist Stuart Sutcliffe, died suddenly of a brain hemorrhage. In August 1962 Pete Best was dismissed and replaced by Ringo Starr, whose real name is Richard Starkey. Starr had been the drummer for rival Liverpool band Rory Storm and the Hurricanes, and had played with The Beatles several times in Hamburg. Though Best had some popularity and was considered good-looking by many female fans, the three founding members had become increasingly unhappy with his drumming and his moody personality, and Epstein had become exasperated with his refusal to adopt the distinctive hairstyle as part of their unified look. The Beatles' first recording sessions, in June 1962, was unsatisfactory to Martin, but a second in September 1962 produced a UK hit, "Love Me Do", which charted. ("Love Me Do" reached the top of the U.S. singles chart over 18 months later in May 1964.) This was swiftly followed by the recording of their second single "Please Please Me". Three months later they recorded their first album (also titled "Please Please Me"), a mix of original songs by Lennon and McCartney with some covers of their favourite songs. The band's first televised performance was on a program called People and Places transmitted live from Manchester by Granada Television on 17 October 1962. Although the band experienced huge popularity in the record charts in Britain from early 1963, Parlophone's American counterpart, Capitol Records (owned by EMI), refused to issue the singles "Love Me Do", "Please Please Me" and "From Me to You"[3] in the United States, partly because no British act had ever yet had a sustained commercial impact on American audiences.

Vee-Jay Records, a small Chicago label, is said by some to have been pressured into issuing these singles as part of a deal for the rights to another performer's masters. Art Roberts, music director of Chicago powerhouse radio station WLS, placed "Please Please Me" into rotation in late February 1963, making it possibly the first time a Beatles' record was heard on American radio. Vee-Jay's rights to The Beatles were cancelled for non-payment of royalties. In August 1963 the Philadelphia-based Swan label tried again with The Beatles' "She Loves You", which also failed to receive airplay. A testing of the song on Dick Clark's TV show American Bandstand resulted only in laughter and scorn from American teenagers when they saw the group's Beatle haircuts. The famous radio DJ, Murray the K featured "She Loves You" on his 1010 WINS record revue in October, to an underwhelming response. [edit]

Beatlemania

The Beatles on The Ed Sullivan Show (1964) In November 1963 The Beatles appeared on the Royal Variety Performance and were photographed with Marlene Dietrich who also appeared on the show. In early November 1963 Brian Epstein persuaded Ed Sullivan to commit to presenting The Beatles on three editions of his show in February, and parlayed this guaranteed exposure into a record deal with Capitol Records. Capitol committed to a mid-January release for "I Want to Hold Your Hand",[4] but a series of unplanned circumstances triggered premature airplay of an imported copy of the single on a Washington DC radio station in mid-December. Capitol brought forward release of the record to December 26, 1963. Several New York radio stations first WMCA, then WINS and WABC began playing "I Want to Hold Your Hand" on its release day, and the Beatlemania that had started in Washington was duplicated in New York and quickly spread to other markets. The record sold one million copies in just ten days, and by January 16, Cashbox Magazine had certified The Beatles record number one (in the edition published with the cover-date January 23).

This contributed to the hysterical fan reaction at JFK Airport on February 7, 1964. A record-breaking seventy-three million viewers approximately 40% of the U.S. population at the time tuned in to the first Sullivan appearance on February 9. During the week of April 4, The Beatles held thetop five places on the Billboard Hot 100 (see The Beatles record sales, worldwide charts), a feat that has never been repeated. In mid-1964 the band undertook their first appearances outside of Europe and North America, touring Australia and New Zealand. When they arrived in Adelaide, The Beatles were greeted by what is reputed to be the largest crowd of their touring career, when over 300,000 people about one-third of the population of the city turned out to see them. In September that year baseball owner Charles O. Finley paid the band the unheard of sum of $150,000 to play in Kansas City, Missouri. In 1965 Her Majesty Queen Elizabeth II bestowed upon them the MBE, a civil honour nominated by Prime Minister Harold Wilson. The award, at that time primarily given to military veterans and civic leaders, sparked some conservative MBE recipients to return their awards in protest. On August 15 that year, The Beatles performed the first stadium concert in modern rock, playing at Shea Stadium in New York to a crowd of 55,600.[5]. The band later admitted that they had been totally unable to hear themselves play or sing, due to the screaming and cheering. This concert is often coonsidered the point their disenchantment with performing live began. [edit]

Backlash and breakup

In July 1966 a comment from an interview caused a backlash against from religious and social conservatives in the Bible Belt of the U.S. Lennon had offered his opinion that Christianity was dying and that the group was "more popular than Jesus" something that he referred to as a topic that caused concern and consideration. The Beatles records were banned and burned in many cities and towns across America (primarily in the South) and from countries such as South Africa. Lennon apologised several times for his remarks. The Beatles performed their last concert before paying fans in Candlestick Park in San Francisco on 29 August 1966. From then on, they concentrated on recording music. The Beatles' situation took a turn for the worse when manager Brian Epstein died in August 1967, at the age of 32, and the band's affairs began to unravel. Just two months earlier, on June 25, 1967, The Beatles became the first band globally transmitted on television, in front of an estimated 400 million people worldwide. The Beatles were a segment within the first-ever worldwide TV satellite hook-up a show titled Our World. The Beatles were transmitted live from the EMI studios at Abbey Road in London, and their song "All You Need Is Love" was recorded live during the show.

At the end of 1967, they received their first major negative press criticism in the UK with disparaging reviews of their surrealistic TV film Magical Mystery Tour. Nor was public reaction positive, although the vast majority of viewers saw the color film on black-and-white TVs, with relatively poor picture quality and even poorer sound reproduction. In 1968 the group spent the early part of the year in Rishikesh, Uttar Pradesh, India studying transcendental meditation with the Maharishi Mahesh Yogi. Upon their return, Lennon and McCartney took a trip to New York to announce the formation of Apple Corps; an initially altruistic business venture which they described at the time as an attempt at "western communism." The latter part of 1968 saw the band busy recording the double album The Beatles, popularly known as The White Album due to its stark cover. These sessions saw deep divisions opening within the band. Their final live performance was on the rooftop of the Apple building in Savile Row, London in January 1969, during the difficult Get Back sessions (later used as a basis for the Let It Be album). Largely due to McCartney's efforts, they recorded their final album, Abbey Road in summer 1969. The band officially broke up in April 1970, and one month later Let It Be followed as their last commercial album release. [edit]

After the breakup

Following the breakup, the only album to feature all four Beatles (although not on the same song) was Ringo, a 1973 Starr solo album. Any hopes of a reunion were dashed when Lennon was murdered by Mark David Chapman, a mentally ill fan, on December 8, 1980. However, in 1981 the three remaining Beatles (with Linda McCartney and Denny Laine doing backing vocals) recorded the song "All Those Years Ago", a tribute to John Lennon written by George Harrison and released on his album Somewhere in England. Another virtual reunion occurred in 1995 with the release of two original Lennon recordings which had the additional contributions of the remaining Beatles mixed in to create two hit singles, "Free as a Bird" and "Real Love". Three volumes (six CDs in total) of unreleased material and studio outtakes were also released, as well as a documentary and television miniseries, in a project known as The Beatles Anthology. On December 15, 2005, McCartney and Starr, along with the families of Lennon and Harrison (who died 29 November 2001) sued EMI in a royalties dispute in which Apple Corps claimed EMI owes The Beatles 30 million. They remain enormously popular. In 1995 and 1996 three Anthology collections of CDs were released, each containing two CDs of never-before-released Beatles material, based on the Anthology documentary series. 450,000 copies of Anthology 1 were sold in its first day of release, the highest volume of single-day sales ever for an album. In 2000 a compilation album named 1 was released, containing almost every number-one single released by the band from 1962 to 1970. The collection sold 3.6 million copies in its first week and more than 12 million in three weeks worldwide, becoming the fastest-selling album of all time and the biggest-selling album of the

year 2000. The collection also premiered at number one in the United States and other countries. [edit]

Studio style evolution

Singer & Bassist Paul McCartney, wrote the most frequently covered/recorded song in history; the ballad "Yesterday". Many observers have said that understanding the success of The Beatles and their music begins with an appreciation for the ways in which they (especially Lennon and McCartney) blended their voices as instruments. The role of producer George Martin is often cited as a crucial element in their success. He used his experience to bring out the potential in the group, recognising and nurturing their creativity rather than imposing his views. Their demands to create new sounds with every recording, personal experiments with psychedelic drugs and the studio expertise of EMI staff engineers including Norman Smith, Ken Townshend and Geoff Emerick all played significant parts in the innovative qualities of the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967). While most recording artists of the time were satisfied with using two, three or four tracks in the studio, The Beatles began to use linked pairs of four-track decks, and ping-ponging tracks two and three times became common. (EMI delayed the introduction of eight-track recording, already becoming common in American studios, until 1968 at Abbey Road.) Along with studio tricks such as sound effects, unconventional microphone placements, automatic double tracking and vari-speed recording, The Beatles began augmenting their recordings using instruments considered unconventional for pop music at the time, including string and brass ensembles, Indian instruments such as the sitar and the swarmandel, tape loops and early electronic instruments, including John Lennon's Mellotron, unforgettably used (with flute voices) on the intro to "Strawberry Fields Forever".

The group gradually took greater charge of their own productions and McCartney's growing dominance in this role, especially after the death of Epstein, played a part in the eventual split of the group. Internal divisions within the band had been a small but growing problem during their earlier career; most notably, this was reflected in the difficulty that George Harrison experienced in getting his own songs onto Beatles' albums, and in the growing artistic and personal estrangement between Lennon and McCartney. Drug use, personal factors and, above all, the unrelenting pressures and demands of their worldwide fame inevitably intensified these stresses. By the time of the sessions for The Beatles (The White Album), released in November 1968, the once close-knit members were clearly drifting apart both musically and personally. Several tracks were cut as de facto solo recordings by the principal composer, with the other band members more or less relegated to the role of session musician. This isolation is probably most notable on Revolution 9, a wildly experimental John Lennon/Yoko Ono concoction of tape loops, "found sounds", and other studio trickery that the other Beatles reportedly despised and tried to keep off the album. However, it was McCartney who had the strongest interest in the music of Karlheinz Stockhausen, whose Hymnen was heavily influential on Revolution 9. The earlier use by the Beatles of "tape loops", on Tomorrow Never Knows was driven (and the loops assembled) primarily by McCartney. Harrison's "While My Guitar Gently Weeps" even featured an outside musician (his friend Eric Clapton) performing the guitar solo; Clapton was reportedly brought in as the result of a bitter dispute between Harrison and Lennon that drove Starr to take a two-week hiatus. During this time McCartney played drums on some of the tracks on the album, including "Back in the USSR", on which he also overdubbed most of the lead guitar parts. McCartney had played lead guitar solos on selected songs as far back as 1966's Taxman (ironically, a Harrison composition). The rapidly deteriorating relationships marred the troubled Get Back sessions in January 1969 Lennon later denounced them as being the worst recordings of their career and the project was made even more stressful by the presence of a film crew hired to capture the proceedings for a planned movie (which eventually became the Let It Be documentary). By this time another very significant factor had emerged Lennon's passionate affair with Japanese artist Yoko Ono. The couple quickly became inseparable and Lennon further alienated the other Beatles by bringing Ono to almost every recording session, breaking the band's long-standing rule against outsiders at sessions. Ono came to be singled out as "the woman who broke up The Beatles" although after Lennon's death, the surviving three Beatles denied Ono's presence had been a major influence in the breakup. However, the band's differences were more or less put aside later in the year for the recording of what became their valedictory album, Abbey Road, which the group later recalled as being among the most enjoyable of their career. While The White Album and the original Get Back sessions emphasised a return to basic pop-rock song structures, Abbey Road took a step back in the direction of glossy

production, although this time primarily consisting of instrumental backing produced by the classically-trained George Martin to help mold together disparate song fragments into a unified, orchestral suite in the tradition of classical compositions. Abbey Road featured considerable use of synthesisers, but usually in more conventional musical contexts rather than as a source for bizarre and unusual sound effects. By the end of 1969 both Lennon and McCartney had effectively left the band and the only piece of unfinished business was the as-yet unreleased Get Back project. The Beatles had been very unhappy with the original tapes from the Get Back sessions (produced as usual by George Martin), and for some time it looked as if the material would be scrapped altogether. After a delay of several months, American producer Phil Spector was brought in to edit, remix and overdub the tapes, and his heavilyorchestrated "Wall of Sound" production characterised the eventual release of the Let It Be album, released in early 1970 nearly a year after the group had ceased to function on an active basis. By this time, Lennon and Harrison had effectively decided to leave the band. McCartney made the move official at the start of 1970 when he began legal proceedings to dissolve the band's business partnership. On the business side McCartney wanted wife Linda Eastman's brother to manage the Beatles, but the remaining Beatles wanted New York manager Allen Klein to represent them. All Beatles decisions in the past were unanimous but the four could not, and would not unanimously agree on a manager. This was the final straw in the relationship between McCartney and the rest of the band. Lennon, Harrison and Starr felt the Eastman's would look after McCartney's well being before the group, and they were right. So they decided to go separate ways with business affairs. But in 1971 it was discovered that Klein stole 5m from the Beatles holdings. McCartney could not just dissolve his business with the Beatles that easy, and this led to him suing to disband all business with the group. For the most part not speaking with the other band member until 1973, Lennon admitted to McCartney that they should have gone with the Eastman's management and this helped mend the personal relationship between the two. [edit]

On film

Lead guitarist George Harrison is known for introducing some exotic elements into the group's sound, including Indian instruments such as the sitar. (Photo by John Kelly, 1968) The Beatles had a largely successful film career, beginning with A Hard Day's Night (1964), a loosely scripted comic farce, sometimes compared to the Marx Brothers in style. It focused on Beatlemania and their hectic touring lifestyle, and was directed in a quasi-documentary style in black-and-white by the up-and-coming Richard Lester, who was known for having directed a television version of the successful BBC radio series The Goon Show as well as the off-beat short film The Running, Jumping and Standing Still Film. In 1965 came Help!, an Eastmancolour extravaganza, also directed by Lester, shot in exotic locations (such as Salisbury Plain, with Stonehenge visible in the background; the Bahamas; and Salzburg and the Tyrol region of the Austrian Alps) in the style of a James Bond spoof along with even more Marx Brothers-style zaniness: For example, the film is dedicated "to Elias Howe, who, in 1846, invented the sewing machine." In 1966 Lennon took time off to play a supporting character in the film called How I Won the War, again directed by Lester. It was a satire of World War II films, and the dry, ironic British humour was not well received by American audiences. The Magical Mystery Tour film was essentially Paul McCartney's idea, outlined as he returned from a trip to the U.S. in late spring 1967, and loosely inspired by press coverage McCartney had read about Ken Kesey's Merry Pranksters' LSD-fuelled American bus odyssey. McCartney envisaged taking this idea and blending it with the peculiarly English working class tradition of charabanc mystery tours. The film was critically panned when it was aired on the BBC's premier television network, BBC-1, on Boxing Day a day primarily for traditional cosy family entertainment. The film appeared radical avant-garde by those standards, and instead of showcasing the lovable "moptops"/Beatles as they had been up until then, it showed them as part of the hippie counter-culture of 1967, that was at odds with the British establishment of that era. Compounding this culture clash was the fact that BBC-1, at that time, still only transmitted programmes in black & white, while Tour was in colour. The film was repeated a few days later on the BBC's second channel (BBC-2) in colour receiving more appreciation, but the initial negative media reaction is what is most remembered.

The animated Yellow Submarine followed in 1968 but had little direct input from The Beatles, save for a live-action epilogue and the contribution of four new songs (including "Only a Northern Song", an unreleased track from the Sgt. Pepper sessions). It was acclaimed for its boldly innovative graphic style and clever humour, along with the soundtrack. The Beatles are said to have been pleased with the result and attended its highly publicised London premiere. In 1969 Ringo Starr took second billing to Peter Sellers in the satirical comedy The Magic Christian, in a part which had been written especially for him. Starr later embarked on an irregular career in comedy films through the early 1980s, and his interest in the subject led him to be the most active of the group in the film division of Apple Corp. Let It Be was an ill-fated documentary of the band that was shot over a four-week period in January 1969. The documentary which was originally intended to be simply a chronicle of the evolution of an album and the band's possible return to live performance captured the prevailing tensions between the band members, and in this respect it unwittingly became a document of the beginning of their break-up. The band initially shelved both the film and the album, instead recording and issuing Abbey Road. But with so much money having been spent on the project, it was decided to finish and release the film and album (the latter with considerable postproduction by Phil Spector) in spring 1970. When the film finally appeared, it was after the break-up had been announced, and it was viewed by disappointed fans through the prism of that recent news. [edit]

Influences

Drummer Ringo Starr did not compose many songs for The Beatles but customarily sang one song on each album, most famously Yellow Submarine and With a Little Help from My Friends. Unlike many of their British contemporaries, The Beatles had relatively little influence from American blues music. Major influences included:

Elvis Presley. They recorded a number of Presley covers at "Abbey Road" studios, and bootleg copies have existed since the late 1960s. Chuck Berry. They recorded covers of Berry songs "Roll over Beethoven" and "Rock and Roll Music" on their early albums, and also performed many other of his classics in their live repertoire. British rock-and-rollers, notably Cliff Richard and The Shadows, especially the trend of adopting a band "look". In their early days as performers the band took some cues from local Liverpool favourites Rory Storm and the Hurricanes, who Starr had played with prior to joining The Beatles. American rockabilly music, particularly that of Eddie Cochran and Carl Perkins. The band's early stage shows featured several Perkins tunes; some of these (notably "Honey Don't", featuring an early Starr vocal) they eventually recorded for their albums. Harrison's guitar work remained highly influenced by rockabilly styles. Early Motown artists. Early Beatles staples included faithful versions of Barrett Strong's Motown recording of "Money (That's What I Want)" and The Marvelettes' hit "Please Mr. Postman". Little Richard and some of their songs (especially in their early repertoire) featured falsetto calls similar to his, most notably on McCartney's rendition of his song "Long Tall Sally". In 1962 Richard socialised with The Beatles around Hamburg and they performed together at the Star-Club. "Long Tall Sally" became a permanent fixture in The Beatles' concert performances. Ragtime and music hall, owing much to the musical interests of McCartney's father. Their impact is apparent in songs like "When I'm Sixty-Four" (composed during The Quarrymen period), "Honey Pie", and "Maxwell's Silver Hammer". Of their early single, "From Me to You", McCartney said, "It could be done as an old ragtime tune... especially the middle-eight. And so we're not writing the tunes in any particular idiom." The Everly Brothers. Lennon and McCartney consciously copied Don and Phil Everly's distinctive two-part harmonies. Their vocals on "Love Me Do" and "Please Please Me" were inspired by the Everlys' powerful vocal innovation on Cathy's Clown (1960), the first recording to ever reach number one simultaneously in the USA and England. Two of Us, the opening track on Let It Be is overtly composed in the Everly style and McCartney acknowledges this in the recording with a spoken "Take it Phil". McCartney later namechecked 'Phil and Don' in his solo track, "Let Em In". Bob Dylan, particularly from 1965 with "You've Got to Hide Your Love Away" ("Help!") and "Norwegian Wood (This Bird Has Flown)" ("Rubber Soul")

[edit]

Changes in their music

Lennon is conventionally portrayed as having played the major role in steering The Beatles towards psychedelia ("Rain" and "Tomorrow Never Knows" from 1966, and "Lucy in the Sky with Diamonds", "Strawberry Fields Forever" and "I Am the Walrus" from 1967). Again following the lead set by Bob Dylan, Lennon renewed his

interest in rootsy forms towards the close of The Beatles' career (e.g. "Yer Blues" from 1968 and "Don't Let Me Down" from 1969). Paul McCartney is usually cast as the group's romantic balladeer, and he displays a singular ear for melody and an arguably unrivalled facility for writing classic pop songs in a wide range of genres, ranking alongside Irving Berlin, Cole Porter and the Gershwin brothers as one of the greatest popular song writers of the 20th century. However, in recent years since the deaths of Lennon and Harrison, he has insisted in a number of media interviews that he was far more involved in the London avant garde scene than was Lennon, and that he was in some respects the more "experimental" of the two. Beginning with the use of a string quartet (arranged by George Martin) on "Yesterday" (1965), McCartney pioneered a modern form of art song, exemplified by the double-quartet string arrangement on "Eleanor Rigby" (1966), "Here, There and Everywhere" (1966) and "She's Leaving Home" (1967). He also created many of the tape loops used on "Tomorrow Never Knows" and experimented with musique concrete techniques and electronic instruments, as well as creating many experimental audiovisual works. His interest in the music of Bach led him to use a piccolo trumpet in his arrangement of "Penny Lane" and, although the Mellotron at the start of "Strawberry Fields Forever" belonged to Lennon, it was McCartney who played it. McCartney retained his affection for the driving R&B of Little Richard in a series of songs Lennon dubbed "potboilers", from "I Saw Her Standing There" (1963) to "Lady Madonna" (1968). "Helter Skelter" (1968), arguably an early heavy metal song, is also a McCartney composition. McCartney's lyrical style evolved a more detached, literary stance than in the increasingly personal and confessional work of Lennon, and Lennon was reported to have become more critical of McCartney's writing in the mid1960s.

The psychedelic portraits of The Beatles created by Richard Avedon in 1967. George Harrison derived his early guitar style from 1950s rockabilly figures such as Carl Perkins, Scotty Moore (who worked with Elvis Presley) and Duane Eddy, but his single biggest influence as a guitarist came from country guitar legend Chet Atkins. "All My Loving" (1963) and "She's a Woman" (1964) are prime examples of Harrison's early rockabilly-influenced guitar work. In 1965 Harrison broke new ground in pop by playing an Indian sitar on "Norwegian Wood (This Bird Has Flown)". His long collaboration with Sri Ravi Shankar, a famous Indian musician, influenced several of his compositions, some of which were based on Indian forms most notably "Love You To" (1966), "Within You Without You" (1967) and "The Inner Light" (1968). Indian music and culture also influenced Lennon and McCartney, with the use of swirling tape loops, droning bass lines and mantra-like vocals on "Tomorrow Never Knows" (1966) and "Dear Prudence" (1968). Harrison's interest in Indian music was an important influence on the popularisation of the so-called world music genre in the years that followed. Harrison retained Western musical forms in his later compositions, emerging as a significant pop composer in his own right, although occasionally reprising major themes indicating his relationship with Indian music and the Hindu god Krishna. His later guitar style, while not displaying the virtuosity of Jimi Hendrix or Eric Clapton, was distinctive with its use of clear melodic lines and subtle fills as in "Something" (1969) and "Let It Be" (1970), contrasting with the increasingly distorted riffs and rapid-fire guitar solo work of his contemporaries.

Ringo rarely wrote songs, but he possessed a gentle, somewhat comic baritone; his best-known vocal performances are "Yellow Submarine" (1966), "With a Little Help from My Friends" (1967) and "Octopus's Garden" (1969). In addition to his skilled (and arguably underrated) drumming and his comical everyman image, he was also a considerable influence on Lennon's songwriting due to his quirky and often amusing turns of phrase. Three of these were immortalised in the songs "A Hard Day's Night", "Eight Days a Week" and "Tomorrow Never Knows". As evidenced by his Beatles vocal performance on Help! (their cover of Buck Owens' "Act Naturally"), Starr was a dedicated country music fan and was largely responsible for the group's occasional forays into the genre in songs such as "What Goes On" (1965) and "Don't Pass Me By" (1968). Later Beatles material shifted away from dance music and the pace of the songs is often more moderate, with interest tending to come from melody and harmonic texture rather than the rhythm ("Penny Lane" from 1967 is an example). Throughout their career The Beatles' songs were rarely riff (or ostinato)-driven; "Day Tripper" (1965) and "Hey Bulldog" (1969, recorded 1968) are among the notable exceptions. The decision to stop touring in 1966 caused an abrupt change in musical direction. Reportedly stung by criticism of "Paperback Writer", The Beatles poured their creative energies into the recording studio. They had already shown a clear trend towards progressively greater complexity in technique and style but this accelerated noticeably in their Revolver album. The subject matter of the post-touring songs branched out as well, as all manner of subjects were introduced, from home repair and circuses to nonsense songs and others defying description. The extreme complexity of Sgt. Pepper's reached its height on the Yellow Submarine soundtrack album, parts of which (for example "It's All Too Much" and "Only a Northern Song") were left over from 1967 and were apparently used because The Beatles themselves weren't much interested in the animated film as a project and weren't inclined to exert themselves by producing much new material for it.

The iconic Abbey Road album cover. After the Revolver/Sgt. Pepper's phase, came the double LP The Beatles, known to most as The White Album because of its plain white sleeve. Partly written in India, it involved some simpler subjects (for example "Birthday"), and some of the songs (for example "Why Don't We Do It in the Road?" and "Wild Honey Pie") were far less complex than their material of just a year or two before. In 1969 the band became less

united during sessions for the aborted Get Back project (which eventually emerged in 1970, much altered, as Let It Be). This had been intended as a return to more basic songs and an avoidance of thorough editing or otherwise "artificial" influences on the final output. Ironically Let It Be was heavily overdubbed and edited by producer Phil Spector in his wall of sound technique. With Get Back behind them, George Martin was asked to produce the last album The Beatles recorded, Abbey Road, representing a mature attempt to integrate what they knew and use recording studio techniques to improve the songs rather than experiment to see what happened. For many, the group's musical appeal lay in the interaction of Lennon and McCartney's voices and musical styles. It is sometimes said they not only supplied missing bits and pieces for each other's songs, but shared a competitive edge that brought out the best in both. Harrison's lead guitar and vocals along with Starr's understated and faithful drumming contributed their own chemistry. Finally, The Beatles' stage presence and charm as a group kindled their live shows, as well as relationships with key people in their careers. After the group dissolved some critics cited their solo releases as a demonstration of how important this group collaboration had been. [edit]

Instrumentation

Rickenbacker, Gretsch, Epiphone, Gibson, and Fender guitars Ludwig drums Steinway, and Blthner pianos Hfner, Fender and Rickenbacker basses Hammond electric organ

[edit]

Discography
Main article: The Beatles discography Further information: List of Beatles songs by singer, The Beatles record sales, worldwide charts, and The Beatles bootlegs The original studio albums by the Beatles are as follows:

Please Please Me (1963) With The Beatles (1963) A Hard Day's Night (1964) Beatles for Sale (1964) Help! (1965) Rubber Soul (1965)

Revolver (1966) Sgt. Pepper's Lonely Hearts Club Band (1967) The Beatles (aka The White Album) (1968) Yellow Submarine (1969) Abbey Road (1969) Let It Be (1970)

The first four albums were not released in the United States market, which saw different albums released. Many of the Beatles singles were not released on any album. In addition to these, several compilations and anthologies have been subsequently released. Of these, the most significant are

1962-1966 (aka The Red Album) 1967-1970 (aka the Blue Album) Magical Mystery Tour (double E.P. re-issued as album) Past Masters, Volume One Past Masters, Volume Two

Live at the BBC Beatles Anthology 1, 2 &3 The Beatles 1 Let It Be... Naked

[edit]

Song catalogue
In 1963 The Beatles gave their song publishing rights to Northern Songs, a company created by Brian Epstein and music publisher Dick James. Northern Songs went public in 1965 with Lennon and McCartney each holding 15% of the company's shares while Dick James and the company's chairman, Charles Silver, held a controlling 37.5%. In 1969, following a failed attempt by Lennon and McCartney to buy back the company, James and Silver sold Northern Songs to British TV company Associated TeleVision (ATV), in which Lennon and McCartney received stock. In 1985 ATV's music catalogue was sold to Michael Jackson for a reported $47 million (beating McCartney's bid), including the publishing rights to over 200 Beatles songs. A decade later Jackson and Sony merged their music publishing businesses. Since 1995 Jackson and Sony/ATV Music Publishing have jointly owned most of The Beatles' songs. Sony later reported that Jackson had used his share of their co-owned Beatles' catalogue as collateral for a loan from the music company. Meanwhile Lennon's estate and McCartney still receive their standard songwriter shares of the royalties. Although the Jackson-Sony catalogue includes most of The Beatles' greatest hits, a few of the early songs weren't included in the original ATV deal and McCartney later succeeded in personally acquiring the publishing rights to "Love Me Do", "Please Please Me", "P.S. I Love You" and "Ask Me Why". Harrison and Starr didn't renew their songwriting contracts with Northern Songs in 1968, signing with Apple Publishing instead. Harrison later created Harrisongs, his own company which still owns the rights to his songs such as "While My Guitar Gently Weeps" and "Something". Starr also created his own company, called Startling Music. It holds the rights to his two Beatle-composed songs, "Don't Pass Me By" and "Octopus's Garden".

Please Please Me (1963)

I Saw Her Standing There Misery Anna (Go to Him) Chains Boys Ask Me Why Please Please Me Love Me Do P.S. I Love You Baby It's You Do You Want to Know a Secret A Taste of Honey There's a Place Twist and Shout

With the Beatles (1963)

It Won't Be Long All I've Got to Do All My Loving Don't Bother Me Little Child Till There Was You Please Mr. Postman Roll Over Beethoven Hold Me Tight You Really Got a Hold On Me I Wanna Be Your Man Devil in Her Heart Not a Second Time Money (That's What I Want)

A Hard Day's Night (1964)

A Hard Day's Night I Should Have Known Better If I Fell I'm Happy Just to Dance with You And I Love Her Tell Me Why Can't Buy Me Love Any Time At All I'll Cry Instead Things We Said Today When I Get Home You Can't Do That I'll Be Back

Beatles For Sale (1964)

No Reply I'm a Loser Baby's in Black Rock and Roll Music I'll Follow the Sun Mr. Moonlight Kansas City/Hey Hey Hey Hey Eight Days a Week Words of Love Honey Don't Every Little Thing I Don't Want to Spoil the Party What You're Doing Everybody's Trying to be My Baby

Help! (1965)
Help! The Night Before You've Got to Hide Your Love Away I Need You Another Girl You're Going to Lose That Girl Ticket to Ride Act Naturally It's Only Love You Like Me Too Much Tell Me What You See I've Just Seen a Face Yesterday Dizzy Miss Lizzy

Rubber Soul (1965)

Drive My Car Norwegian Wood (This Bird Has Flown) You Won't See Me Nowhere Man Think For Yourself The Word Michelle What Goes On Girl

I'm Looking Through You In My Life Wait If I Needed Someone Run For Your Life

Revolver (1966)
Taxman Eleanor Rigby I'm Only Sleeping Love You To Here, There and Everywhere Yellow Submarine She Said, She Said Good Day Sunshine And Your Bird Can Sing For No One Dr. Robert I Want to Tell You Got to Get You Into My Life Tomorrow Never Knows

Sgt. Pepper's Lonely Hearts Club Band (1967)

Sgt. Pepper's Lonely Hearts Club Band With a Little Help From My Friends Lucy in the Sky With Diamonds Getting Better Fixing a Hole She's Leaving Home Being For the Benefit of Mr. Kite Within You, Without You When I'm Sixty-Four Lovely Rita Good Morning, Good Morning Sgt. Pepper's Lonely Hearts Club Band (Reprise) A Day in the Life

The Beatles (1968)

Back in the USSR Dear Prudence Glass Onion Ob-La-Di Ob-La-Da Wild Honey Pie

The Continuing Story of Bungalow Bill While My Guitar Gently Weeps Happiness is a Warm Gun Martha My Dear I'm So Tired Blackbird Piggies Rocky Raccoon Don't Pass Me By Why Don't We Do It In the Road I Will Julia Birthday Yer Blues Mother Nature's Son Everybody's Got Something to Hide Except Me and My Monkey Sexy Sadie Helter Skelter Long, Long, Long Revolution 1 Honey Pie Savoy Truffle Cry Baby Cry Revolution 9 (no definite lyrics) Good Night

Yellow Submarine (1969)

Yellow Submarine Only a Northern Song All Together Now Hey Bulldog It's All Too Much All You Need Is Love

Abbey Road (1969)

Come Together Something Maxwell's Silver Hammer Oh! Darling Octopus's Garden I Want You (She's So Heavy) Here Comes the Sun Because

You Never Give Me Your Money Sun King Mean Mr. Mustard Polytheme Pam She Came in Through the Bathroom Window Golden Slumbers Carry That Weight The End Her Majesty

Let It Be (1970)
Two Of Us I Dig a Pony Across the Universe I Me Mine Dig It Let It Be Maggie Mae I've Got a Feeling One After 909 The Long and Winding Road For You Blue Get Back

The Beatles/1962-1966 (1973)

Love Me Do Please Please Me From Me To You She Loves You I Want to Hold Your Hand All My Loving Can't Buy Me Love A Hard Day's Night And I Love Her Eight Days a Week I Feel Fine Ticket to Ride Yesterday Help! You've Got to Hide Your Love Away We Can Work It Out Day Tripper

Drive My Car Norwegian Wood (This Bird Has Flown) Nowhere Man Michelle In My Life Girl Paperback Writer Eleanor Rigby Yellow Submarine

The Beatles/1967-1970 (1973)

Strawberry Fields Forever Penny Lane Sgt. Pepper's Lonely Hearts Club Band With a Little Help From My Friends Lucy in the Sky with Diamonds A Day in the Life All You Need is Love I Am the Walrus Hello Goodbye The Fool on the Hill Magical Mystery Tour Lady Madonna Hey Jude Revolution Back in the USSR While My Guitar Gently Weeps Ob-La-Di Ob-La-Da Get Back Don't Let Me Down The Ballad of John and Yoko Old Brown Shoe Here Comes the Sun Come Together Something Octopus's Garden Let It Be Across the Universe The Long and Winding Road

Hey Jude (1970 - US, 1979 - UK)

Can't Buy Me Love I Should Have Known Better

Paperback Writer Rain Lady Madonna Revolution Hey Jude Old Brown Shoe Don't Let Me Down The Ballad of John and Yoko

Magical Mystery Tour (1976)

Magical Mystery Tour The Fool on the Hill Flying (instrumental) Blue Jay Way Your Mother Should Know I Am the Walrus Hello Goodbye Strawberry Fields Forever Penny Lane Baby You're a Rich Man All You Need is Love

All You Need Is Love

Lennon/McCartney Love, love, love, love, love, love, love, love, love. Theres nothing you can do that cant be done. Nothing you can sing that cant be sung. Nothing you can say but you can learn how to play the game Its easy. Theres nothing you can make that cant be made.

No one you can save that cant be saved. Nothing you can do but you can learn how to be in time Its easy. All you need is love, all you need is love, All you need is love, love, love is all you need. Love, love, love, love, love, love, love, love, love. All you need is love, all you need is love, All you need is love, love, love is all you need. Theres nothing you can know that isnt known. Nothing you can see that isnt shown. Nowhere you can be that isnt where youre meant to be. Its easy. All you need is love, all you need is love, All you need is love, love, love is all you need. All you need is love (all together now) All you need is love (everybody) All you need is love, love, love is all you need.

Let It Be
When I find myself in times of trouble Mother Mary comes to me Speaking words of wisdom, let it be. And in my hour of darkness She is standing right in front of me Speaking words of wisdom, let it be. And when the broken hearted people Living in the world agree, There will be an answer, let it be. For though they may be parted there is Still a chance that they will see There will be an answer, let it be. Let it be, let it be. Yeah There will be an answer, let it be. And when the night is cloudy, There is a light that shines on me, Shine until tomorrow, let it be. I wake up to the sound of music, Mother Mary comes to me, Speaking words of wisdom, let it be. Let it be, let it be. There will be an answer, let it be. Let it be, let it be, Whisper words of wisdom, let it be.

Hey Jude
Hey Jude dont make it bad, Take a sad song and make it better, Remeber, to let her into your heart,

Then you can start to make it better. Hey Jude dont be afraid, You were made to go out and get her, The minute you let her under your skin, Then you begin to make it better. And anytime you feel the pain, Hey Jude refrain, Dont carry the world upon your shoulders. For well you know that its a fool, Who plays it cool, By making his world a little colder. Hey Jude dont let me down, You have found her now go and get her, Remember (Hey Jude) to let her into your heart, Then you can start to make it better. So let it out and let it in Hey Jude begin, Youre waiting for someone to perform with. And ont you know that its just you. Hey Jude, youll do, The movement you need is on your shoulder. Hey Jude, dont make it bad, Take a sad song and make it better, Remember to let her under your skin, Then youll begin to make it better.

Ob-la-di, Ob-la-da
Desmond has a barrow in the market place. Molly is a singer in a band. Desmond says to Molly girl I like your face And Molly says this as she takes him by the hand. Ob-la-di Ob-la-da life goes on bra Lala how the life goes on Ob-la-di Ob-la-da life goes on bra Lala how the life goes on Desmond takes a trolley to the jewellers stores, Buys a twenty carat golden ring. Takes it back to Molly waiting at the door And as he gives it to her she begins to sing In a couple of years they have built A home sweet home With a couple of kids running in the yard Of Desmond and Molly Jones. Happy ever after in the market place Desmond lets the children lend a hand. Molly stays at home and does her pretty face And in the evening she still sings it with the band. Happy ever after in the market place Molly lets the children lend a hand.

Desmond stays at home and does his pretty face And in the evening shes singer with the band. And if you want some fun take Ob-la-di Ob-la-da.
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The Beatles
The Beatles - formata in 1960 in Liverpool, Anglia Perioada de activitate: 1960 - 1970. Membri: John Lennon - chitara, (James) Paul McCartney - bass, George Harrison - chitara, Ringo Starr (Richard Starkey) - tobe Ex-membri: - Pete Best, Stuart Sutcliffe. Stiluri abordate: - Pop, Rock & Roll, British Invasion, Psychedelic, Pop/Rock, British Psychedelia, Folk-Rock * The Beatles - discografie The Beatles a fost unul dintre grupurile a carui muzica populara a fost cea mai influenta pentru era rock care a urmat. Ei au avut ca tinta generatiile de tineri rezultate de dupa al 2lea razboi mondial, in Anglia, SUA,etc. Fara dubiu, ei sunt cel mai faimos si de succes grup in istoria muzicii rock, contorizand peste 1,1 miliarde de discuri vandute in lumea intreaga. In timp ce, initial au devenit faimosi pt ceea ce unii au etichetat drept muzica pop, lucrarile lor de mai tarziu au realizat o combinatie de laude atat din partea criticilor cat si din partea ascultatorilor inegalata in secolul 20. In cele din urma, ei si-au dovedit nu doar talentul de muzicieni, au pasit granita spre cinematografie, si in particular, in cazul lui John Lennon este vorba de activism politic. McCartney l-a cunoscut pe Lennon pe 6 iulie 1857, si a intrat in formatia acestuia, numita The Quarrymen, pt care McCartney l-a recrutat pe Harrison, amicul sau de scoala in varsta de numai 15 ani. Trupa s-a despartit pt scurt timp dupa care s-a reunit. Grupul sufera mai multe schimbari atat ca nume cat si ca membri, si devine in cele din urma in 1960, The Beatles. In 1962 au semnat un contract cu Parlophone, membra a EMI, iar primul album al formatiei, PLEASE PLEASE ME, a fost inregistrat in doar 12 ore consecutive. Mania pentru Beatles a inceput in Anglia pe 13 octombrie 1963 cu o aparitie televizata la London Palladium, si a explodat apoi in SUA, in urma a 3 aparitii a trupei in The Ed Sullivan Show, pe 9 februarie, 16 februarie si 23 februarie 1964. Aceasta trupa, ce canta muzica pop pe atunci, a devenit in scurt timp un fenomen mondial cu fani care-i adorau, cu

adulatii histerice din partea fanilor, si condamnari din partea comentatorilor culturali si altii, printre care si Frank Sinatra. O parte a criticii adresate trupei isi avea originea in confuzia asupra surselor muzicii lor (o confuzie asemanatoare a aplanat si asupra lui Elvis Presley in 1956, criticile provenind de la persoane care nu cunosteau traditia muzicii blues, R&B si Gospel din care razbatea Elvis) iar o parte era cauzata de reactia neincrezatoare cu privire la lungimea parului membrilor The Beatles. In 1964, ei au ocupat primele 5 pozitii ale Top Pop Singles Chart, Billboard, o realizare care in ca nu a fost repetata. In 1965, cei 4 au fost desemnati Membrii Ordinului Imperiului Britanic. In acelasi an Lennon si Harrison au inceput sa consume LSD, iar McCartney ceva mai tarziu, spre sfarsitul anului 1966. Lennon a adus un mare dezavantaj cu privire la imaginea The Beatles, in anul urmator, cand a afirmat intr-un interviu ca crestinismul este pe moarte, lamentand ca Beatles erau mai populari ca Iisus. In cele din urma, si-a cerut scuze, dupa ce a fost criticat foarte dur de catre grupuri religioase, dupa ce albumele lor au fost interzise sau chiar arse in tari din America de Sud, si dupa ce au primit amenintari din partea unor grupuri ca Ku Klux Klan. The Beatles, dupa concertul din Candlestick Park, din San Francisco, pe 29 August 1966, si-au concentrat fortele in studioul de inregistrari, noile compozitii si experimente muzicale ridicandu-le reputatia artistica in mod remarcabil pastrandu-si totusi uriasa popularitate. Insa, soarta financiara a grupului a luat o intorsura nefavorabila atunci cand managerul lor, Brian Epstein, a murit in 27 august 1967. Dupa aceasta, membrii trupei si-au urmat interesele individuale si s-au intalnit tot mai rar. Ultimul lor concert este considerat a fi aparitia live pe acoperisul studio-urilor Apple, din Londra, in ianuarie 1969, si a aparut compilat in albumul LET IT BE. In acelasi an, a fost pornit pacaleala legata de moartea lui Paul. Oficial, Beatles s-a destramat in 1970, si orice speranta a unei reuniuni a fost zdrobita cand Lennon a fost asasinat de catre Mark David Chapman in 1980. Totusi, o reuniune virtuala a avut loc in 1995, odata cu lansarea a doua inregistrari ale lui Lennon, la care si-au adus contributia si ceilalti 3 membri Beatles. Au rezultat piesele FREE AS A BIRD si REAL LOVE. Au mai fost lansate, de asemenea, 3 albume ce contineau material nelansat anterior, precum si un documentar, proiect cunoscut sub numele The Beatles Anthology.

De-a lungul timpului, relativ scurt, pe care l-au petrecut concertand, inregistrand si lansand albume, The Beatles au realizat o serie de recorduri mondiale, mare parte inca nedoborate. Va prezentam o lista a celor mai mari realizari ale acestei formatii. - The Beatles este cel mai bine vandut grupul muzical al tuturor timpurilor, cifra estimativa ridicandu-se la peste 1 miliard de discuri si benzi vandute in lumea intreaga; - The Beatles au avut cele mai multe discuri multi-platina (13 doar in SUA); - The Beatles au avut mai multe single-uri care au ajuns pe locul 1 al topurilor decat orice alt grup muzical (23 in Australia, 23 in Olanda, 22 in Canada, 21 in Norvegia, 20 in SUA si 18 in Suedia). Adesea piesele lor concurau tot cu single-uri lansate de ei; - The Beatles au avut mai multe albume pe locul 1 decat orice alt grup (19 in SUA si 15 in UK); - The Beatles detine recordul celor mai multe saptamani pe locul intai in topuri, sectiunea albume (174 in UK, si 132 in SUA); - Cele mai multe vanzari in prima saptamana de la lansare pentru un dublu album (the Beatles Anthology, volume 1, care s-a vandut in 855.473 de copii doar in SUA, in saptamana 21 - 28 noiembrie 1885); - In aprilie 1964, The Beatles au ocupat toate primele 5 pozitii ale topului Billboard, la sectiunea Single-uri. Nimeni n-a mai reusit aceasta performanta inainte si dupa ei, si este indoielnic ca va mai reusi cineva asa ceva. Piesele respective erau "Can't Buy Me Love", "Twist and Shout", "She Loves You", "I Want to Hold Your Hand", si "Please Please Me"; - Piesa "Yesterday" este cea mai preluata piesa (cover) din istorie, fiind mentionata in Cartea Recordurilor cu un numar de peste 3000 de versiuni. De asemenea este cel mai des auzit cantec in istoria internationala a radioului,etc.

(doar albumele oficiale de studio neincluzand compilatiile)

Discografie The Beatles:

martie 1963 Please Please Me

Tracklist: Side one 1. "I Saw Her Standing There" - 2:55 2. "Misery" - 1:50 3. "Anna (Go to Him)" - 2:57 4. "Chains" - 2:26 5. "Boys" - 2:27 6. "Ask Me Why - 2:27 7. "Please Please Me" - 2:03 Side two 1. "Love Me Do" - 2:22 2. "P.S. I Love You" - 2:05 3. "Baby It's You" - 2:38 4. "Do You Want to Know a Secret" 1:59 5. "A Taste of Honey" - 2:05 6. "There's a Place" - 1:52 7. "Twist and Shout" - 2:33

noiembrie 1963 With the Beatles Tracklist: Side one 1. "It Won't Be Long" 2. "All I've Got to Do" 3. "All My Loving" 4. "Don't Bother Me" 5. "Little Child" 6. "Till There Was You" 7. "Please Mr. Postman" Side two 1. "Roll Over Beethoven" 2. "Hold Me Tight" 3. "You Really Got a Hold on Me" 4. "I Wanna Be Your Man" 5. "Devil in Her Heart" 6. "Not a Second Time" 7. "Money (That's What I Want)"

iulie 1964 A Hard Day's Night

Tracklist: Side One 1. "A Hard Day's Night" 2. "I Should Have Known Better" 3. "If I Fell" 4. "I'm Happy Just to Dance With You" 5. "And I Love Her" 6. "Tell Me Why" 7. "Can't Buy Me Love" Side Two 1. "Any Time At All" 2. "I'll Cry Instead" 3. "Things We Said Today" 4. "When I Get Home" 5. "You Can't Do That" 6. "I'll Be Back"

decembrie 1964 Beatles For Sale Tracklist: Side one 1. "No Reply" 2. "I'm a Loser" 3. "Baby's in Black" 4. "Rock and Roll Music" 5. "I'll Follow the Sun" 6. "Mr. Moonlight" 7. Medley: - "Kansas City" - "Hey, Hey, Hey, Hey" Side two 1. "Eight Days a Week" 2. "Words of Love" 3. "Honey Don't" 4. "Every Little Thing" 5. "I Don't Want to Spoil the Party" 6. "What You're Doing" 7. "Everybody's Trying to Be My Baby"

august 1965 Help!

Tracklist: 1. "Help!" 2. "The Night Before" 3. "You've Got to Hide Your Love Away" 4. "I Need You" (Harrison) 5. "Another Girl" 6. "You're Going to Lose That Girl" 7. "Ticket To Ride" 8. "Act Naturally" 9. "It's Only Love" 10. "You Like Me Too Much" 11. "Tell Me What You See" 12. "I've Just Seen a Face" 13. "Yesterday" 14. "Dizzy Miss Lizzie"

decembrie 1965 Rubber Soul Tracklist: Side one 1. "Drive My Car" 2. "Norwegian Wood (This Bird Has Flown)" 3. "You Won't See Me" 4. "Nowhere Man" 5. "Think For Yourself" 6. "The Word" 7. "Michelle" Side two 1. "What Goes On" 2. "Girl" 3. "I'm Looking Through You" 4. "In My Life" 5. "Wait" 6. "If I Needed Someone" 7. "Run For Your Life"

august 1966 Revolver Tracklist: Side one 1. "Taxman" 2. "Eleanor Rigby" 3. "I'm Only Sleeping" 4. "Love You To" 5. "Here, There and Everywhere" 6. "Yellow Submarine" 7. "She Said She Said" Side two 1. "Good Day Sunshine" 2. "And Your Bird Can Sing"

3. 4. 5. 6. 7.

"For No One" "Doctor Robert" "I Want to Tell You" "Got to Get You Into My Life" "Tomorrow Never Knows"

iunie 1967 Sgt. Pepper's Lonely Hearts Club Band Tracklist: Side one 1. "Sgt. Pepper's Lonely Hearts Club Band" 2. "With a Little Help from My Friends" 3. "Lucy in the Sky with Diamonds" 3:28 4. "Getting Better" 2:47 5. "Fixing a Hole" 2:36 6. "She's Leaving Home" 3:35 7. "Being for the Benefit of Mr. Kite!" 2:37 Side two 1. "Within You Without You" 5:05 2. "When I'm Sixty-Four" 2:37 3. "Lovely Rita" 2:42 4. "Good Morning Good Morning" 2:41 5. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" 6. "A Day in the Life" 5:33

decembrie 1967 Magical Mystery Tour Tracklist: Side one 1. "Magical Mystery Tour" 2. "The Fool on the Hill" 3. "Flying" 4. "Blue Jay Way" (Harrison) 5. "Your Mother Should Know" 6. "I Am the Walrus" Side two 1. "Hello, Goodbye" 2. "Strawberry Fields Forever" 3. "Penny Lane" 4. "Baby You're a Rich Man" 5. "All You Need Is Love"

noiembrie 1968 The Beatles ("White Album")

The White Album este un dublu album ce contine cele mai mari hituri ale trupei.

ianuarie 1969 Yellow Submarine Tracklist: Side one 1. "Yellow Submarine" 2. "Only A Northern Song" 3. "All Together Now" 4. "Hey Bulldog" 5. "It's All Too Much" 6. "All You Need Is Love" Side two 1. "Pepperland" 2. "Sea of Time" 3. "Sea of Holes" 4. "Sea of Monsters" 5. "March of the Meanies" 6. "Pepperland Laid Waste" 7. "Yellow Submarine in Pepperland"

septembrie 1969 Abbey Road Tracklist: Side one 1. "Come Together" - 4:20 2. "Something" - 3:03 3. "Maxwell's Silver Hammer" - 3:27 4. "Oh! Darling" - 3:26 5. "Octopus's Garden" - 2:51 6. "I Want You (She's So Heavy)" 7:47 Side two 01. "Here Comes the Sun" - 3:05 02. "Because" - 2:45 03. "You Never Give Me Your Money" 4:02 04. "Sun King" - 2:26 05. "Mean Mr. Mustard" - 1:06 06. "Polythene Pam" - 1:12 07. "She Came in Through the Bathroom Window" 1:57

08. 09. 10. 11.

"Golden Slumbers" - 1:31 "Carry That Weight" - 1:36 "The End" - 2:19 "Her Majesty" - 0:23

mai 1970 Let It Be Tracklist: Side one 1. "Two of Us" 2. "Dig a Pony" 3. "Across the Universe" 4. "I Me Mine" 5. "Dig It" 6. "Let It Be" 7. "Maggie Mae" Side two 1. "I've Got a Feeling" 2. "One After 909" 3. "The Long and Winding Road" 4. "For You Blue" 5. "Get Back"

RITCHIE BLACKMORE A MUSICAL HISTORY... 1967 - RITCHIE BLACKMORE - who has previously played with such bands as the Outlaws, Screaming Lord Sutch, and Neil Christian & The Crusaders - is invited by ex-Artwoods/The Flowerpot Men keybordist Jon Lord (who was invited by The Searchers ex-drummer, Chris Curtis) to form a new band. Other musician's would be auditioned from a Melody Maker ad in Deeves Hall in Hertfordshire. 1968- In February, the group would form as Roundabout, consisting of the three (with Chris Curtis on vocals) along with Dave Curtis on bass and Bobby Woodman on drums. After only a month of uncompromising rehearsals, BLACKMORE and LORD would be the only two remaining, bringing in vocalist Rod Evans (formally of the groups M15 and Maze), bassist Nick Simper (ex-Johnny Kidd & the Pirates) and drummer Ian Paice. In April, the band would change its name to DEEP PURPLE, and forego the name Concrete God. Using Vanilla Fudge as its model, the group records an album and is signed to EMI in the United Kingdom and Tetragrammation (Bill Cosby's label) in the United States. A few months later, the band performs its first major UK performance at the Sunbury Festival. In September, the band would release the first single from the album, "Hush", which reaches #4 on the US charts. The album, itself, Shades of Deep Purple, would reach the Top 25. In December, the band would release their rendition of Neil Diamond's "Kentucky Woman" a single which would also experience considerable chart success. 1969 - Early in the year, the band would release The Book to Taliesyn which would feature a revival of Ike and Tina Turner's "River Deep, Mountain High." In July, the band would release their self-titled album, Deep Purple. Shortly thereafter, their record label would go under and Rod Evans and Nick Simper would both leave the band. They would be replaced by singer Ian Gillan and bassist Roger Glover, who were both previously members of the group, Episode Six. The two would add a dynamic chemistry to the band, complimenting BLACKMORE, who was quickly rising as one of most omnipotent British lead guitarists around. In September, the band would perform what many believed to be their most adventurous album to date, Concerto For Group And Orchestra, which featured The Royal Philharmonic Orchestra at the Royal Albert Hall in London. 1970 - By August, the band's newest album, Deep Purple In Rock, would stay on the UK charts for over a year, and hit #4. To this day, the album remains a landmark of sorts in heavy rock, with Gillan's screeching vocals pitted against BLACKMORE'S fierce guitar playing. Such Deep Purple classics as "Black Night," and " Child in Time" were featured on the album which mainly generated interest in the UK. 1971 - In July, Deep Purple would tour the United States with The Faces. Two months later, the band would release, Fireball, an album that would also go Top 40 in the United States and be their first chart-topping album in the UK. The band would form their own label, Purple (distributed by EMI) in October before heading to Montreux to record. On December 3rd, the band is recording in the Montreux Casino in Switzerland when it burns down during a set by Frank Zappa's Mothers of Invention. The rest is history, as RITCHIE BLACKMORE and the group immortalize the incident in the song, "Smoke on The Water," which would appear on the bands next album. 1972 - Deep Purple release Machine Head, which would also top the UK charts (and go to #7 in the U.S. charts) and feature such worldwide rock classics as "Smoke on the Water," "Space Truckin'," "Lazy," and "Highway Star." The band - who now had a monstrous live set only second to Led Zeppelin - would remain on the road for 44 weeks of the year mainly in support of Machine Head (as well as a compilation album on Warner Bros. Titled Purple Passages). Twenty five years later, Machine Head is still considered one of rock's all-time greatest albums. 1973 - Made In Japan - an album that would result from live recordings of their summer tour in '72 - is released in January and reaches #6 in the United States. However, prior to its release, it would sell huge quantities as an import. Another album, Who Do We Think We Are, is released virtually simultaneously and reaches #15 in the U.S. charts. In the middle of

Blackmore's Night features talented musicians whose experiences span the globe and every aspect of the entertainment industry. Bard David of Larchmont - The spine tingling melodies of classical composers wafts through the rehearsal halls as Bard David prepares for his performances. This extremely talented virtuoso has been delighting audiences for the past 20 years on keyboards, piano, organ, harpsichord, accordion and pipe organ. He is a graduate of Purchase University in piano performances and Blackmore's Night is proud to add him to our Minstrel Band.

Sisters of the Moon, Lady Madeline and Lady Nancy have been singing since the age of three and writing and recording their own songs for over a decade. The sisters recently showcased their debut CD Movin' On live at Sam Goodys. Having honed their singing talents by performing in talent shows, Elite Chamber Choirs, Jazz Ensembles and concerts, they are looking forward to contributing to the

melodic sound of Blackmores Night.

Through the elegant chambers of Castle Lumley, Squire Malcolm found his way down to the dungeon. A minstrel band was rehearsing for a banquet taking place in the Barrons Hall later that evening. Driven by the hypnotic rhythms, soulful guitar, enchanting vocals, and haunting violin, he found himself compelled to express the rhythms he was feeling-and Squire Malcolm of Lumley joined Blackmore's Night as our new percussionist.

Blackmore's Night welcomes the very talented-multi-instrumentalist Sir Robert of Normandy. A virtuoso on bass, guitar and vocals, he was the first writer producer for "The Backstreet Boys". As the bass player and vocalist from Mink De Ville/ Willy De Ville, they headlined shows all over Europe and also opened for performers like Bob Dylan ,Santana, Van Morrison, etc... As well as playing in various clubs and discos throughout NYC, he also appeared with Cajun artist Zachary Richard. The movie "Grown-ups" currently in production, will feature Bob's songs. He recently wrote and produced a song for the band "Natural" working with executive producer Lou Pearlman and Clive Davis. (industry giants) The release date for will be Jan 2002. We are really pleased to have minstrel Sir Robert touring with Blackmore's Night.

Special Guest Performances of Multi-Instrumentalist-TUDOR ROSE Tudor Rose-Multi-Instrumentalist - is a jongleur who travels the world entertaining all with the transporting sounds of her fiddle, recorders and rauschpfife. After early years in the provinces, she made her way to the Emerald City to study and work among such Early Music greats as the New York Renaissance Band and the Ensemble for Early Music. A musician with the Folger Consort since its inception, she is a founding member and Co-Director of Hesperus with her husband, recorder player extraordinaire Scott Reiss; an award-wining soloist on the ancient pardessus de viole. Her secret passion to travel the world and perform in castles under the stars with a minstrel troupe brought her to the magical music of Blackmore's Night.

Ritchie Blackmore
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Ritchie Blackmore Richard Hugh Blackmore (born in Weston-super-Mare, April 14, 1945) is regarded as one of the most influential and respected British guitarists of all time. He has been a founding member of both Deep Purple and Rainbow and is currently a member of the band Blackmore's Night.

Contents
[hide]

1 Biography o 1.1 Early life o 1.2 The first Deep Purple years, 1968-1975 o 1.3 The first Rainbow years, 1975-1984 o 1.4 The second Deep Purple years, 1984-1994 o 1.5 The second Rainbow years, 1994-1997 o 1.6 The Blackmore's Night years, 1997-present 2 Musical styles 3 Gear Set Up 4 See also 5 Further reading 6 References

7 External links [edit]

Biography
[edit]

Early life
After being born in Weston-Super-Mare, Blackmore moved to Heston, Middlesex at the age of two. He was 11 when he got his first guitar. His father bought it for him on certain conditions: "He said if I was going to play this thing, he was either going to have someone teach it to me properly, or he was going to smash me across the head with it. So I actually took the lessons for a year classical lessons - and it got me on to the right footing, using all the fingers and the right strokes of the plectrum and the nonsense that goes with it."[1] Influenced in his youth by early rockers like Hank Marvin and Cliff Gallup, and later, country pickers like Chet Atkins, Blackmore began as a studio guitarist in England at a young age. His playing eventually improved and in the early 1960s he started out as a session player for Joe Meek's music productions and performed in several bands. He was member of instrumental combo The Outlaws and backed Heinz (playing on his top ten hit "Just Like Eddie"), Screaming Lord Sutch, Glenda Collins and BOZ among others. With organist Jon Lord he co-founded hard rock group Deep Purple in 1968, and continued to be a member, and the main creative anchor, of Deep Purple from 1968-1975 and again from 1984-1993. [edit]

The first Deep Purple years, 1968-1975

Blackmore co-founded the hard rock group Deep Purple in 1968 with Rod Evans (vocals), Nick Simper (bass), Jon Lord (keyboards), and Ian Paice (drums). The band quickly scored a hit US single with its remake of the Joe South song "Hush". Nonetheless, after only three albums Evans and Simper were replaced by Ian Gillan (vocals) and Roger Glover (bass), both recruited from Episode Six. The second line-up's first studio album, In Rock, changed the band's style, turning it in a hard rock direction. Blackmore's guitar riffs, Jon Lord's classically inspired, distorted Hammond organ, and Ian Paice's jazz-influenced drums were enhanced by the powerful vocals of Ian Gillan, who Blackmore has described as being "a screamer with depth and a blues feel." Songs on "In Rock" like "Speed King" and "Child In Time" would become constant mainstays in the bands live setlist. "Black Night" was a song recorded at the same time and released as a non-album single. It gave the band their first UK chart smash, reaching number 2. The next release was titled Fireball and continued in the same Hard rock style established on the previous release. Deep Purple recorded its landmark album Machine Head. The album was recorded by a mobile recording unit (Rolling Stones Mobile) in Montreux, Switzerland. The band originally intended to record the album at a casino in Montreux, but the night before recording was to begin the casino hosted a Frank Zappa concert (with members of

Deep Purple in attendance) at which an audience member fired a flare gun into the facility's bamboo roof. A tremendous fire ensued and the casino burned down. The entire tragedy is documented in the lyrics of what was to become Deep Purple's historic anthem "Smoke On The Water". The song opens with a simple Blackmore riff that many consider to be one of the most recognizable hard rock riffs ever recorded. The Machine Head album also produced such notable Deep Purple classics as "Space Truckin'", "Highway Star", and "Lazy". The live album of the Machine Head tour recorded in Tokyo and Osaka, Japan and entitled Made In Japan - cemented Deep Purple's reputation as a dynamic and intense live rock and roll act. In 1973 Ian Gillan and Roger Glover left Deep Purple. They were replaced by former Trapeze bassist Glenn Hughes and an unknown young singer named David Coverdale. The album recorded by the new line-up was titled, Burn. Deep Purple continued to perform concerts worldwide, including an appearance at the 1974 California Jam, a televised concert festival that featured Eagles, Black Sabbath and many other rock luminaries. At the very moment Deep Purple was due to appear, Blackmore, locked himself in his dressing room and refused to go onstage. Previous performers had finished early and it was still not sundown, the time at which the band had originally been scheduled to appear. Blackmore felt this would dull the effect of the band's light show. After ABC brought in a Sheriff to arrest him, Blackmore agreed to perform, but during the performance he destroyed an ABC TV camera in retaliation after the cameraman repeatedly edged too close to him. Shortly thereafter, the stage erupted in flames after Blackmore's amplifier stacks were deliberately set on fire. They exploded and blew him to the front of the stage. ABC was furious, but the band escaped its wrath by immediately departing via helicopter.

Deep Purple's next album, Stormbringer, not only disappointed critics and fans, but was publicly denounced by Blackmore himself, who disliked the funky soul influences that Hughes and Coverdale injected into the band. Following its release, he departed Deep Purple to front a new group, Ritchie Blackmore's Rainbow. [edit]

The first Rainbow years, 1975-1984

After Deep Purple, Blackmore formed the Hard rock band Rainbow, which originally consisted of himself, former Elf lead singer Ronnie James Dio, bassist Craig Gruber, drummer Gary Driscoll, and keyboardist Mickey Lee Soule. The name of the band Rainbow was inspired by a Hollywood Bar and Grill called the Rainbow that catered to rock stars, groupies and rock enthusiasts. It was here that Ritchie spent his off time

from Deep Purple and met Dio, whose band Elf had toured regularly as an opening act for Deep Purple. The band's debut album, Ritchie Blackmore's Rainbow, was released in 1975 and featured the hit "Man on the Silver Mountain". Rainbow's music was different from Deep Purple's. The music was more directly inspired by Classical music and Ronnie James Dio wrote lyrics about medieval themes. Dio possessed a versatile vocal range capable to sing both hard rock or lighter ballads.[citation needed] Although Dio never played a musical instrument on any Rainbow album, he is credited with writing and arranging the music with Blackmore in addition to writing all the lyrics himself. Blackmore fired everybody except Dio shortly after the album was recorded and recruited drummer Cozy Powell (formerly of the Jeff Beck Group), bassist Jimmy Bain and keyboard player Tony Carey. This lineup went on to record the album Rainbow Rising. For the next album, Long Live Rock 'N' Roll, Blackmore kept Powell and Dio and replaced the rest of the band. Blackmore had difficulty finding a bass player for this record so he played bass on all but three songs on this album (Gates of Babylon, Kill the King, and Sensitive To Light). After the release and supporting tour, Ronnie James Dio left Rainbow. He would go to replace Ozzy Osbourne as the lead singer in Black Sabbath and later form his own band DIO. Blackmore continued with Rainbow, replacing Dio with ex-Marbles vocalist Graham Bonnet. Powell stayed and was joined by former Deep Purple bassist Roger Glover and keyboardist Don Airey. The first album from the new lineup, Down To Earth, featured the bands first chart successes,'All Night Long' and 'Since You Been Gone' On stage Bonnet possesed a powerful voice, but struggled with the band's quieter numbers & lacked Dio's range.[citation needed] In 1980, the band headlined the inaugural Monsters Of Rock festival at Castle Donington in England. This would be Powell's final performance with Rainbow. He would go on to play for Michael Schenker, Whitesnake and Black Sabbath. The next album saw yet another line-up change as Bonnet and Powell were replaced Joe Lynn Turner, and Bobby Rondinelli respectively. The title track from the album, Difficult to Cure, was a version of Beethoven's Ninth Symphony. The album also contained the guitar piece, "Maybe Next Time". Rainbow's next studio album was Straight Between the Eyes. The band added a new keyboardist, David Rosenthal, The album was more cohesive than Difficult to Cure and had more success in the United States. The band, however, was alienating some of its earlier fans with its more AOR sound.[citation needed] The single, Stone Cold, was a ballad and had some chart success. The successful supporting tour skipped the UK completely and focused on the American market. Bent Out of Shape saw drummer Rondinelli fired in favor of Chuck Burgi. The album featured the single Street Of Dreams The song's video was banned by MTV for its supposedly controversial hypnotic video clip.[2] The resulting tour saw Rainbow return to UK and also to Japan where the band performed with a full orchestra.

By the mid-1980s, Deep Purple was poised to re-form and snatch Blackmore and Glover away. A final Rainbow album, Finyl Vinyl, was patched together from live tracks and "b" sides of singles. Perhaps its greatest virtue was that it made Blackmore's haunting instrumental "Weiss Heim" widely available for the first time. Subsequent bootlegs showed the band might have been better served had it released instead a 'Live In Tokyo' album. [edit]

The second Deep Purple years, 1984-1994

In April 1984 it was announced on BBC radio's Friday Rock Show that the "Mark Two" line-up of Blackmore, Gillan, Glover, Lord, and Paice was reforming and recording new material. The band signed a deal with Polydor in Europe and Mercury in North America. The album Perfect Strangers was released in October 1984. A tour followed, starting in New Zealand and winding its way across the world into Europe by the following summer. It was the highest grossing group tour of the year. The UK homecoming proved mixed as they elected to play just a one festival show. Despite poor weather conditions, an audience of 80,000 attended the single performance. In 1987, the line-up recorded and toured in support of the album, The House of Blue Light. A live album, Nobody's Perfect was released in 1988. A new version of "Hush" was also released to mark the band's twenty year anniversary. In 1989, Ian Gillan was fired from the band due to a poor working relationship with Blackmore. His replacement was former Rainbow vocalist Joe Lynn Turner. The new lineup recorded one album titled Slaves & Masters (1990). Slaves & Masters met with mixed opinions among fans and band alike.[citation needed] Blackmore's bandmates humorously proclaimed it as "the finest Rainbow album Deep Purple ever made" In contrast, Blackmore insisted that it was the best effort of the reunion era.[citation needed] Neither the album nor the tour were critically or commercially successful. Following it's conclusion, Turner was fired from the band. Both Jon Lord and Ian Paice argued that Deep Purple needed Ian Gillan as the band's frontman. Blackmore relented and Gillan returned prior to recording The Battle Rages On in 1993. During the support tour in mid-1994, tensions between Gillan and Blackmore reached a climax and Blackmore left the band permanently. Joe Satriani stepped in temporarily to help complete the band's live dates. He was asked to join full time but had to decline as he was tied into a long recording contract. A permanent replacement for Blackmore was eventually found in another guitar legend, Steve Morse of Dixie Dregs, who joined the Deep Purple in 1994. [edit]

The second Rainbow years, 1994-1997

Ritchie Blackmore reformed Rainbow after leaving Deep Purple a second time in 1994. This Rainbow line up with Doogie White lasted until 1997 and produced the Stranger in Us All CD. [edit]

The Blackmore's Night years, 1997-present

In 1997, Blackmore teamed up with Candice Night, who is also his partner, to create the Renaissance-style group Blackmore's Night. [edit]

Musical styles
With Deep Purple and Rainbow, Blackmore almost exclusively played a Fender Stratocaster, often with the middle of its three pickups ripped out or disconnected. He is also one of the first guitarists to use a "scalloped" fretboard where the wood is shaved down between the frets. It requires the player to play with a lighter touch as pressing hard will cause the note to sound sharp. The result is increased speed at the cost of making chordal playing more difficult. Other scalloped neck users include Yngwie J. Malmsteen and also Steve Vai, whose signature Ibanez is scalloped above the 20th fret. One of Blackmore's best-known guitar riffs is from the song Smoke on the Water. He plays the riff without a pick, using two fingers to pluck two adjacent strings held in a IV interval. In his soloing, Blackmore combines blues scales and phrases with minor scales and ideas from European classical music. His resulting style has been referred to as "neoclassical" and has been emulated by many modern Heavy metal guitarists.
[citation needed]

Blackmore ranked #55 on Rolling Stone Magazine's "100 Greatest Guitarists of All Time. He also has two guitar solos ranked on Guitar World magazine's "Top 100 Greatest Guitar Solos."[1] [edit]

Gear Set Up
During the 1960s Blackmore played a Gibson ES-335 but switched to a Fender Stratocaster after seeing Jimi Hendrix play one. He bought a second hand model from Eric Clapton. Since then up and up until his Blackmore's Night project Blackmore has used Stratocasters almost exclusively. The middle pickup is screwed down and not used, with only the bass and treble pickup selector set. Blackmore has also occasionally used a Fender Telecaster Thinline during recording sessions. His amplifer was a Custom Marshall stacks with a 200-watt Major head, turned up all the way. Since 1996 he has used Engl valve amps. Blackmore did not use effects very often during his time with Deep Purple or Rainbow. He would sometimes use a wah-wah pedal and a variable control treble-

booster for sustain. Taurus bass pedals were used during solo parts of concerts. He also had a modified Aiwa tape machine built to supply echo and delay effects. While playing he would often put the pick in his mouth to play with his fingers. His strings used in the Deep Purple days in the 1970s were Picato brand (.010, .011, . 014, .026, .036, .042) [edit]

See also

Blackmore's Night Rainbow Deep Purple

[edit]

Further reading
1997 - 1999 Blackmore's Night People involved Ritchie Blackmore (gtr) & Candice Night (vcl/pnnywhstl); with various back-up. Under A Violet Moon [cd] : UK June 1999 Cold Harbour Recording ; Japanese release: PCCY 01377 Under A Violet Moon [interview cd] : Germany 1999 Edel Records 0047732EREP Under A Violet Moon/ Past Time With Good Company/ Catherine Howard's Fate 00476EREP Blackmore's Night toured extensively throughout the castles of Europe and the USA. They win the NAV award for Best Vocal Album of the Year.

1999 Blackmore's Night Under A Violet Moon is released on Canyon Classics in Japan with a classical album cover photo of Ritchie's collection of instruments. PCCL-00451

2001 Blackmore's Night Compilation of softer Blackmore's Night material for Japanese compilation

Minstrels and Ballads- PCCY-01536

2000 till Present Blackmore's Night Ritchie Blackmore (gtr/hrdy grdy/perc.) ; Candice Night (shawm, harp, vcls, rcrdr, pnnywhstl) Blackmore's Night records Fires At Midnight and embark on tours throughout England, Russia, Scandinavia and Europe. They chart in more countries than ever before including entering the German Billboard charts at #9. Fires At Midnight [cd] : Germany July 2001 Steamhammer SPV 085-72432 CD The Times They Are A Changin'/Sake Of Song/ The Times They Are A Changin' (extra video clip)- SPV 056-72463 CDS-E Fires At Midnight (special red velvet edition)- SPV 088-72430 CD_E

2002 Blackmore's Night releases Times Are A Changin (the old Bob Dylan favorite rearranged Blackmore's Night style!) It hit the streets in Europe and the UK and it includes an enhanced video track

2002 Released in Germany and several areas in mainland Europe are three soothing New Age/ Celtic/ Gypsy music compilations. Each one features a variety of artists and also includes the music of Blackmore's Night. The titles are as follows: "Mystera VII", "Miroque Vol. VII Mittelalter - Barock Gothic Selection", and "Fairies, Elves & Angels Vol.2".

Past Times With Good Company - released exclusively in Japan on November 20,
2002- Live double cd - bonus track: different instrumental version of Memmingen.

2003

Blackmore's Night Past Times With Good Company (double live CD recorded in Groningen, Holland and New York) is released in October 2003 in Europe and released January 2003 in the USA and Canada. The European version includes a Greek version of Home Again and extra live tracks recorded at a press show in Solingen, Germany. Line up includes: Ritchie Blackmore, Candice Night, Sir Robert of Normandie (bass, rhythm guitar), Lady Rraine (bkg vocals), Squire Malcolm of Lumley (percussion), Chris Devine (violin, recorder), Carmine Gigilo (keyboards) on bonus tracks: Sisters Of The Moon; Lady Nancy, Lady Madeline (bkg vocals), Lord Marnen of Wolfhurst (violin) The special Limited Edition leather bound hard book package includes two bonus tracks: acoustic "Fires At Midnight" and Home Again performed in Greek. Blackmore's Night

Ghost of a Rose
Released in Europe and Japan in June 2003. Special edition Digi Pack released June 30th, 2003 with extra bonus track, Mid Winters Night live from the press show in Solingen, Germany. Line up includes:Ritchie Blackmore (guitars, hurdy gurdy, renaissance drum and tambourine), Candice Night (vocals, shawms, rauchpfife, pennywhistles, chanters), Lady Nancy and Lady Madeline (harmony vocals), Sir Robert of Normandie (bass), Mike Sorrentino (drums), Lord Marnen of Wolfhurst (viola, violin), Bard David of Larchmont (bkg vocals), Tim Cotov (bkg vocals), Pat Regan and the Minstrel Hall Consort
Ghost of a Rose Released in Japan: July 1st, 2003

2004

Blackmore's Night All Because Of You (remix) Released July 2004 includes: All Because of You (reganwald remix) All Because of You (album version) All Because of You (radio romantic mix) cd info: spv 055-69893 cds

Blackmore's Night

The Finest Collection of Blackmore's Night "All For One"

Released in Japan, September 1, 2004 Yamaha Music releases

Blackmore's Night

Beyond the Sunset - The Romantic Collection

Released in September 2004 Special bonus tracks include: 3 Christmas songs (special edition for Holiday time only!) Songs include: Christmas Eve, We Three Kings, Emmanuel Also included: 5 DVD tracks from Castle show in Burg Solingen CD tracks include: Once In A Million Years (new song) and 13 previously released tracks. cd info: SPV 087-6990L

November 15, 2004

2 BN tunes, Gone With The Wind and Shadow of the Moon, are chosen for the soundtrack compilation of the German TV series - The magical Story of the Rings: Die Nibelungen the Ring of the Nibelungs www.ring-of-the-nibelungs.com | www.sat1.de/nibelungen

2 New Mystic Spirits Compilations are out by ZYX Music. Each are have double
cd's included with Blackmore's Night as well as many other mystical artists.

For magical music visit ZYX Music and scroll down to the search box on bottom left. There, type in Mystic Spirits for their collection of entrancing CDs.

2006 Village Lanterne Released in Japan in January 2006 and reaches #6 on the charts. Released in Europe and USA March/April 2006 reaching various high chart positions worldwide.

Castles and Dreams

Double DVD Released Oct 25, 2006

(click song title to view lyrics)

Shadow of the Moon The Clock Ticks On Be Mine Tonight Play Minstrel Play Ocean Gypsy Magical World Writing on the Wall Renaissance Faire No Second Chance Spirit of the Sea Greensleeves Wish You Were Here Under A Violet Moon Castles And Dreams Past Time With Good Company Morning Star Avalon Wind in the Willows Gone With the Wind March the Heroes Home Spanish Nights (I Remember It Well) Catherine Howard's Fate Fool's Gold Now and Then Self Portrait Written In The Stars I Still Remember Home Again Crowning Of The King Fires At Midnight Hanging Tree Storm Midwinter's Night All Because Of You Waiting Just For You Benzai-Ten Village On The Sand Again Someday Sake of Song

Way to Mandalay 3 Black Crows Cartouche Queen For A Day Ivory Tower Ghost of a Rose Loreley Where Are We Going From Here All For One Dandelion Wine

Once In a Million Years

Christmas Eve Emmanuel We Three Kings

25 Years Olde Village Lanterne I Guess It Doesnt Matter Anymore The Messenger World of Stone Faerie Queen Village Dance Mond Tanz / Child In Time Streets of London Just Call My Name (Ill Be There) Olde Mill Inn Windmills

Under a Violet Moon Dancing to the feel of the drum Leave this world behind We'll have a drink and toast to ourselves Under a Violet Moon Tudor Rose with her hair in curls Will make you turn and stare Try to steal a kiss at the bridge Under a Violet Moon Raise your hats and your glasses too We will dance the whole night through We're going back to a time we knew Under a Violet Moon Cheers to the Knights and days of old the beggars and the thieves living in an enchanted wood Under a Violet Moon Fortuneteller what do you see Future in a card Share your secrets, tell them to me Under a Violet Moon Close your eyes and lose yourself In a medieval mood Taste the treasures and sing the tunes Under a Violet Moon Tis my delight on a shiny night The season of the year To keep the lanterns burning bright Under a Violet Moon Morning Star There are shadows in the sky Dancing in the air Calling to my heart Saying, "If you dare, We're running fast We're running far Trying to catch the morning star..." And time and space Our only shield Keeping secrets Unrevealed Falling night Breathes in the dark Trying to catch the morning star... I can fly through my mind when I see them as they shine Can it be so hard to try and charm the elusive morning star... So within the chase We soon will find The light of the moon Those left behind Try to free the gypsy in their hearts By trying to catch the morning star... Now that the time Has come and gone Illusion has past And we're on our own Know the dream is never far... When trying to catch the Morning Star

Although she's done back-up vocals for such major bands as Deep Purple, Rainbow, and Twang (the Hank Marvin Tribute album), Candice Night's success was anything but overnight. In 1997, the talented lyricist and lead singer of Blackmore's Night completed a musical project with legendary guitarist Ritchie Blackmore titled Shadow of the Moon. The album features acoustic renaissance music, a direction she thoroughly enjoyed. "This music is feel good, soul searching music," says Candice. "Listening to it makes me appreciate the beauty in simple things that most of us overlook everyday. It has a magical effect. It makes me smile and it makes me cry, but listening to it always takes me on a different journey somewhere else. Being a part in creating such music is a reward in itself.". Her passion for the music - coupled with her vocal prowess was apparently greatly appreciated in Japan, where the album has sold an overwhelming 100,000 units in just a few weeks and entered the Billboard International Charts at #14. It was well received Europe and has spent 17 weeks on the charts in Germany. On her first project she collaborated with Blackmore on Stranger In Us All, not only as the background vocalist, but also as co-writer of 4 of the tracks appearing on the album: "Wolf To The Moon", "Black Masquerade", "Hall of the Mountain King", and "Ariel". "Ariel" was the first single released from the ED and charted at #2 in Europe, while "Black Masquerade" reached #1 in Japan. Her first lyrical writing experience collaborating with Ritchie earned her a gold record. The talented lyricist performed to sold out venues in Japan and Europe as lead vocalist of Blackmore's Night. "Shadow of the Moon" was released in the United States and Canada on February 17, 1998 to complete worldwide distribution. Her lyrics on Shadow of the Moon are of love, longing and self esteem. She reflects upon the past but believes in the future. Listen closely to "No Second Chance" and you'll hear a new philosophy for women around the world. The lyrics tell women that they can be assertive and stand up for themselves. "Be Mine Tonight" reflects on a lasting relationship in the lives of a couple as they travel through their memories. A theme that runs throughout her lyrics would best be described as, "Look to the past, look to the future, but be true to yourself." Candice's musical training began in childhood as a classical pianist. Her career in the entertainment field includes a successful modeling career in the United States that was put on hold to pursue her love of music. Her passions for music lead her into the world of radio where she produced her own lunchtime music and talk show on NYIT in New York. However,

teaming up with Ritchie Blackmore for Shadow of the Moon has launched Candice's career as lyricist and lead vocalist for Blackmore's Night. Candice and Ritchie have toured the world with their renaissance/folk rock music, playing to sold out audiences in castles, churches and old theaters. With the success of Shadow still riding the sales charts, they co-wrote and released Under A Violet Moon. The release in the spring of 1999 was followed by a European tour of castles, churches and theaters. 1993 - Background vocalist on Deep Purple's Battle Rages On Tour. 1994 - Co-writes Ariel (1st single release) from Ritchie Blackmore's Rainbow album STRANGER IN US ALL. Ariel charts at #2 in Europe. 1994 - Co-writes Hall of the Mountain King and Wolf to the Moon for Rainbow's "Stranger In Us All album. 1995 - Candice is the 1st woman to ever appear on the front cover of the Japanese magazine "Burrn". Co-writes Black Masquerade - considered by Burn magazine as the Best Song of the Year (1995) Black Masquerade charts at #1 in Japan. Candice receives her first gold record for her lyric writing for Stanger In Us All. May 1997 - Candice is awarded her 2nd gold record. She receives a gold disc from Japan for her lyric writing for Shadow of the Moon. 1997 - Shadow of the Moon is released in Japan featuring Candice as lyricist and lead singer. It would sell an overwhelming 100,000 copies in just a few weeks. It would debut at #14 on the Billboard Album charts in Japan. Shadow of the Moon - released in Europe in June - goes on to chart for 17 weeks. No Second Chance - from Shadow of the Moon - spends 3 weeks at chart position 5 on Brazil radio. Wish You Were Here - the first radio single released in the United States, reaches #1 on the Gavin Up and Coming AC charts. After a successful European tour in 1997-1998, playing castles, theaters and churches throughout Europe, Candice and Ritchie have returned to the studio to write and record their second Blackmore's Night album. "Under A Violet Moon" due for release in Japan in April 1999, and world-wide May 1999. Candice and Ritchie appear on VH1-US with Blackmore's Night. May 1999 - Candice Night is the first woman to appear in Burn Magazine in Japan as their calendar poster. Under A Violet Moon debuts at #2 in Japan on the Japanese charts and #12 on the Billboard International Charts. Under A Violet Moon debuts at #20 with it's European release on the Billboard charts. June/July 1999 - Candice and Ritchie bring Blackmore's Night back to Europe to play to sold out venues at a ground breaking castle tour throughout Europe. September 1999 - Ritchie and Candice tape upcoming show for CNN World Beat, and the

Christmas Special - Airing dates - Christmas day. They also tape a segment for a "medieval special" to be aired in 2000. October 1999 - Blackmore's Night commences the first leg of the US tour - bringing the Under A Violet Moon tour to the Midwest/New York area. Blackmore's Night will perform two charity shows in October to benefit the Saltare foundation to bring Performing Arts to underprivileged children - also a charity benefit show was performed for abused and homeless animals donating their time and proceeds of their Halloween show to Best Friends Society and the North Shore Animal League. December 1999 - Daily Telegraph Sunday Edition feature article on Ritchie Blackmore and Candice Night. Under A Violet Moon wins the #1 Best Vocal album of the Year award from NAV. January 2000 - Blackmore's Night returns to tour Italy. January/February 2000 - Blackmore's Night will continue to tour Europe and Japan, and return to the castle tours in the summer of 2000. May 2000 - CNN Worldbeat airs a special on renaissance music featuring Blackmore's Night Summer 2000 - Blackmore's Night returns to Europe for castle tour. June/July 2001 - Fires At Midnight by Blackmore's Night is released in Japan and Europe, entering the International German Billboard charts at No.9 and the International Japanese charts at No. 20, Austrian charts at No.34, Czech Republic charts at No.21, and Slovakia charts at No. 26. August 2001- Fires At Midnight reaches Number 7 on the new Age Voice US radio charts. June 2001 - Candice Night records guest vocals on 3 songs, Through the Times, Golden Hair and Promises Under The Rain, on Beto Vasquez's Infinity project. Other guest vocalists on Infinity include Sabine from Edenbridge and Tarja from Nightwish. It is released in South America on the Rock Brigade / Laser Company label. July/August 2001 - Fires At Midnight German Castle tour - Sold Out Venues Hamburg Charity Performance - All Blackmore's Night precedes Benefit Society for Prevention of Cruelty to Animals. August 2001 - Blackmore's Night Guest Appearance on Fernsehgarten Garden-German TV, performing artist on Vabank and the Ice Hockey Stick of the Year Program for Czech Nova TV and Blackmore's Night live performances on the BingoLotto TV Show in Sweden. September 2001 - Fires At Midnight video reaches Number 6 in Canadian MusicMax TV charts. Sept/Oct 2001 - England, Holland, Denmark and Sweden - Fires At Midnight Tour - Sold Out. Sept/Oct 2001 - Candice Night interviews appear in Divka, Cosmo Girl Czech Republic, Kvety Weekly, Czech Republic, Czech State Radio interview. October 2001 - Musical Discoveries feature length story and photos. October/Nov 2001 - Times They Are A Changin' video from Fires At Midnight wins the Number 1 TV video award three weeks straight and takes Number 2 for fourth week. Nova TV

Czech Republic. Nov. 2001 - Fires At Midnight remains high on Russian charts - on " Open Radio" in Moscow "The Times They Are A Changin'" remains 9 weeks in the top 20 hit list. "I Still Remember" enters rotation in top 20. Show business agency "Intermedia" reports that Fires At Midnight is one of the top 10 International pop bestsellers during Sept and Oct. Dec 2001 - Charity Benefit performance of Blackmore's Night - All Proceeds go to North Shore Animal League and Best Friends Animal Sanctuary in Utah to feed and shelter homeless animals. January 2002 - The Infinity project is released in Japan with a February release in Finland, March release by Drakkar in Germany. March 2002 - Blackmore's Night special guest performance at the Czech Music Award Ceremony-filmed by Nova TV. Blackmore's Night performs at Angel Music Award Ceremony in Prague. They received an Eso Award from NOVA TV for their number one video The Times They Are A Changin.