petak, 31.03.2006.
TESTAMENT
dropkick murphys
"Fields Of Athenry"
By a lonely prison wall, I heard a young girl calling
Michael, they have taken you away,
For you stole Trevelyan's corn,
So the young might see the morn.
Now a prison ship lies waiting in the bay.
[Chorus:]
Low lie the fields of Athenry
Where once we watched the small free birds fly
Our love was on the wing
We had dreams and songs to sing
It's so lonely round the fields of Athenry.
By a lonely prison wall, I heard a young man calling
Nothing matters, Mary, when you're free
Against the famine and the crown,
I rebelled, they cut me down.
Now you must raise our child with dignity.
[Chorus]
By a lonely harbor wall, she watched the last star falling
As the prison ship sailed out against the sky
Sure she'll wait and hope and pray, for her love in Botany Bay
It's so lonely round the fields of Athenry.
It's so lonely round the fields of Athenry.
[Chorus]
MARILYN MANSON AGAINST CROATIA
Vjerojatno već do sada znate, ali i Hrvati imaju svoje sporne idole... Country-zvijezda Anthony Cash jedna je od njih. Samo za razliku od njegovog prezimenjaka Johnnyja, Anthony je zvijezda koja je stekla slavu na totalnim 'rednecksima' - isfrustriranima, nepismenima i lakovjernima... Ali podrška Anthonyju bezuvjetna je - jedna riječ protiv i možete završiti u prvoj grabi nadomak sela 'Pripizdina Donja'.
Ali što ćemo, to je show business, glavno je pravilo da nema pravila - u igri su ipak velika lova i veliki dobici - u Hrvata dva najveća proizvođača masovne zabave bili su i ostali 'Politika d.d.' i 'Crkva d.d.'. George Orwell u svojem remek-djelu '1984', opisao je kako funkcioniraju mase ispranog mozga, mase koje promatraju i dopuštaju da budu promatrane, mase sklone ubijanju individualnosti.
No u toj, simboličnoj godini 'ispred' nas, jedna je institucija bila dovoljna da se prikaže sav jad povodljivog puka - u Hrvata to čine čak dvije institucije, navlačeći svaka na svoju stranu, podmečući i prijeteći, pritom skupo naplačujući svoje licemjerje i dvoličnost, istovremeno zagovarajući 'demokraciju', 'toleranciju', 'mir' i 'blagostanje'. Priča koju ste čuli bezbroj puta, a na koju mnogi po bezbroj i prvi put nasjedaju bez razmišljanja. Dakle, čisti hrvatski biser... A Marilyn Manson...
Marilyn Manson je klaun.
Njegov cirkus je pun egzibicija bez akrobatskih dodataka, no taj cirkus ima svoj razlog zašto postoji - Mansonov cirkus jasan je odraz svakodnevnog cirkusa kojim nas filaju televizijski i radio-programi, cirkusa s kojim se susrećemo u bezbroj sitnih i manje sitnih životnih situacija, gdje i djeca i odrasli pribjegavaju fizičkom ili verbalnom nasilju kojem često nema povoda.
Ali kad druŔtvu 'pobožnom' i 'bogobojaznom', 'pravednom', 'tolerantnom' i 'bezgrješnom' treba žrtveno janje, onda neće birati sredstva već će postati krvoločna zvijer, pokušavajući zgrabiti i spaliti na lomači prvog koji se nađe na putu.
A Marilyn Manson je trenutno na tom putu - putu u Pulu, gdje planira i gdje je odrzao jedan u nizu svojih koncerata kao profesionalan glazbenik tek s Ëudnim poimanjem ekstravagantnog za neke nove balavce sklone mladenačkom isfuravanju.
To što je sotonist i vidi besmisao u mračnoj strani života ne znači previše nikome osim njemu samome - prema gospodi iz 'Oaze', 'Radio Marije' (ovakav naziv za radio-postaju govori sve o 'nevinosti' i 'vjeri'), kao i inim druŔtvima 'BezgrjeŔnika srca i krvi Isusove', 'Majke Boćje od brze pomoći', 'Djevice Marije trećeg kamenčića od sunca' ili 'crkve Sv. Brcka' iz Brckovljana pokraj Zagreba, 'nasilje' u pjesmama Marilyna Mansona treba zabraniti pod svaku cijenu.
Emotivna stanja koja u Hrvata izazivaju primjerice nogometne utakmice, ili kad se već dotičemo glazbe - koncerti Thompsona, Škore ili Mate Bulića, po tumačenju crkve onda imaju istu težinu kao i Mansonovi nastupi.
Samo s tom razlikom što Manson pjeva o niŔtavnosti upravo takvog svijeta u kojem pjesme 'za srce i dušu' nisu ništa manje lišene vulgarnosti, šunda, droge, krvi iz nosa, suicidalnih tendencija...
Ako ćemo o nasilju, drogi, depresiji ili nećem četvrtom, jednako negativnom i nepoželjnom, svim tim problemima nije uzrok jedan klaun i njegov ekstravagantni šok-cirkus - u kinima se svakog dana prikazuje nasilje, na televizijskom programu u pol bijela dana prikazuje se nasilje koje gledaju mala djeca, reklame obiluju nasilničko-seksualnim aluzijama, Big Brother je priča za sebe, 'Ultimate Fight' spektakli primjerice na velikom TV-ekranu
Name na zagrebačkom Kvatricu ili ispred Milka cafe-dućana na Cvjetnom trgu usred subotnje 'špice', samo su djelić svakodnevnog programa koji iskrivljuje percepciju ovog društva. Stoga ne dopustite bojkote koncerata - pružite podrsku urbanoj kulturi. Jer nije stvar samo u Mansonu.
Sutra će u Hrvatsku poželjeti doći netko drugi, no samo zato jer zastupa svoja uvjerenja možda neće imati adekvatnu priliku predstaviti se, pošto će se opet javiti netko 'ponosan', usiju punih pljesnivog sira. A povampirenoj gospodi iz 'religijskog' programa, dobri stari citat iz Biblije koju tako predano 'čitaju' - 'tko je bez grijeha neka prvi baci kamen'.
četvrtak, 30.03.2006.
"SCREAM!"
A chill runs up your spine
It crawls into your brain
The freezing touch of fear
It's driving me insane
Although you try to fight
Dragged from the silence where you hide
'til you... Scream
Scream 
I can't wait to hear you...
I can't wait to hear you...
Scream
It's driving me insane
Although you try to fight
Dragged from the silence where you hide
'til you... Scream
Scream
I can't wait to hear you...
I can't wait to hear you...
Scream
utorak, 21.03.2006.
CLIFF BURTON R.I.P. - 1986
One And Only
Clifford Lee Burton
The heavy metal world was shaken by the tragic loss of Metallica bassist Cliff Burton when their tour bus skidded on ice while the band was on tour in Scandinavia, and Cliff was thrown out the window and crushed. He had been an important element in Metallica's success by contributing his virtuoso musicianship, streetwise attitude and totally over-the-top stage presence.
He helped bring the bass guitar out of the closet with his unique lead bass playing, which incorporated harmonics, classical fills, heavy distortion and thick wahwah effects: "Anesthesia" and "Orion" are a couple of the best examples of his incredible technique. Thank God that James, Kirk and Lars were open minded enough to let him go off totally on stuff he wanted to play. Unlike most metal mavens, Cliff had come up with his own bass lines rather than just follow along with the rhythm.
He is still a major influence on aspiring musicians and metal fans today, as shown by his Top 10 showing in the recent Thrash Metal magazine's 1990 Bassist of the Year poll. Cliff's awesome musical ability is well known, but his great personality was what made him such a uniquely genuine individual. His easy-going, laid-back offstage demeanor contrasted greatly with his wild onstage persona. Cliff was also very modest and fiercely loyal to his pals, fans and family.
If you never met Cliff, the following hopefully will give you an insight into the kind of person he was. Cliff rarely did interviews, preferring to let James and Lars handle them. This interview was conducted in February of '86 in James and Lars' old pad, the "Metallimansion," preceding a typically drunken night at the tiny Ruthie's Inn in Berkeley, California, and was later transcribed by Cliff's girlfriend, Corinne Lynn.
Q: When did you start playing?
CLIFF: I started playing in 1976. I used to jam around with some local friends, then I got together with these guys who called themselves EZ Street, named after a strip joint in San Mateo.
Q: What kind of music?
CLIFF: Oh, it was all kinds of weird shit. It was pretty silly, actually. We did a lot of covers, just wimpy shit. But I was with them for a while, for a few years. And that slowly but surely disintegrated. Then I saw Trauma and I thought, "Well, I might as well do that." Didn't have anything better to do.
Q: What are some of your influences?
CLIFF: My influences would be... well, first off, with bass playing it would be Geddy Lee, Geezer Butler, Stanley Clarke....
Q: The gods. What about Steve Harris?
CLIFF: Um, no, I never really heard him until it was like....
Q: Till you'd already developed your own style?
CLIFF: Yeah. Lemmy [of Motorhead] also had an influence in the way he uses distortion. That was different, new, and exciting. Also, certain guitar players had an influence. People like... well, everything Thin Lizzy did has had an influence.
Q: Phil was great.
CLIFF: Jimi Hendrix, Ulrich Roth, Schenker to a degree, Tony Iommi--they also had an influence.
Q: How about your top five albums? This is kind of lame....
CLIFF: Uhhh... top five albums... Well, let's just say top five bands. Everything by Glen Danzig, which is The Misfits or Samhain, all of his shit. All of Thin Lizzy's stuff. What else? Jesus, what else....? Awww, shit!
Q: English Dogs? Credence?
CLIFF: Nah, nah. The old Black Sabbath stuff.... What else? There's a band called R.E.M. that I like a lot, strangely enough. There's also.... A lot of the old Aerosmith, the new Aerosmith shit, too. I like Aerosmith a lot.
Q: So how did you first get in contact with Metallica?
CLIFF: Trauma went down to LA and did some stuff. While in L.A., Lars and James saw us and decided that they would like to have me in their band. And so they started getting ahold of me and calling me, and I came to their shows here when they played Frisco. And eventually Trauma started to... annoy me... a couple of different ways, so I said, "Later."
Q: Musically?
CLIFF: Musically? Yeah, yeah, it was musical. They were starting to adopt these attitudes about... well, it was starting to get a little commercial in different ways, just different general musical attitudes that I found annoying.
Q: You wanted to get heavier?
CLIFF: Definitely.
Q: So you told them--Metallica--that they would have to move up here to San Francisco if you were going to join…
CLIFF: Yeah, yeah. I told them that they would have to move up here because I wasn't about to move down to LA, because I like it up here. So they said, "Yeah, well, we were thinking about doing that anyway." So that worked out just right. So, they came up and we got together in this room that we're sitting in now, set up the gear and blasted it out for a couple of days. It was pretty obvious straight away that it was a good thing to do, so we did it!
Q: What do you have to say about the early days? You guys have obviously progressed a lot since then.
CLIFF: It was fun back then; it's fun now.
Q: You seemed to have a more "fuck it all" attitude back then.
CLIFF: Well, I think you could safely say we've matured musically, if not any other way, a bit over the past three years. And there's a lot more at stake now.
Q: Yeah, a major label and major management, right? Management's taking real good care of you guys, eh?
CLIFF: Yeah. Everyone who we've signed with is doing a great job for us. It's all going well.
Q: All right. Where do you think you guys will be a couple of years from now? You're obviously on the way up, but do you think you're gonna be up there with the Maidens and the Priests? It looks that way now.
CLIFF: Well, I don't know. I try not to, uh… I try not to speculate about those sort of things, you know; that way, I can't be wrong if I don't make a guess about it. It's just we try our best and we'll take it as far as we can, do what we can and see where it takes us.
Q: What was your most memorable show, do you think?
CLIFF: That's the thing. Different shows have different good points and it's really great to do a big show in front of the home town. But there's also other gigs, like when things are really, really happening. There's been a few of those. There's different things that make different shows memorable. I couldn't pinpoint one as being my favorite.
Q: You had a good time at all of them, I'm sure. You always look like you're having a good time.
CLIFF: Most of them, yeah. Sometimes, it, you know, gets to you a bit, but all in all the percentages are real good for the good shows. It's hard to tell when you're onstage you know. You don't really know what's going on; you just do it and find out what happens later.
Q: What about the Donnington bottles? Tell us about Donnington [Festival, England].
CLIFF: Donnington was a day of targets and projectiles. [Stuff] was piling high on the stage all throughout the day, and freaks were flipping.
Q: And it wasn't because they didn't like you.
CLIFF: No, they just do that because they like to do that. I think they liked us, though.
Q: Yeah, I heard good reviews. What about the new album, Master of Puppets? Tell us about it. What's your favorite song?
CLIFF: My favorite song is "Master." "Master," I think, is the best Metallica song yet. The lyrics are getting a lot better.
Q: Sounds like your music's getting more technical too, eh?
CLIFF: Yeah, everything's kind of growing a bit. It's progressing.
Q: What about the thrashier ones? The heavier, faster ones--"Battery" and "Damage?"
CLIFF: They're uh... they're uh... very fast. You know, typical kinda Metallica [stuff]. Fast. Then there's, you know, a bunch of other stuff.
Q: How did it go in the studio, as smooth as anticipated?
CLIFF: It took too long. We didn't manage our time all that well, but the songs were all real good and what we came out with was very good. Like I said, we could've managed our time a bit better, but all in all it was, I think, quite a success.
Q: It's a good follow-up to Ride The Lightening, then?
CLIFF: Definitely.
Q: OK. What about your equipment? What do you use for amplification?
CLIFF: I'm using Mesa Boogie amps, Mesa Boogie cabinets. I got some 4x12 cabs for them and some custom-built 115 cabs.
Q: What, to your specifications?
CLIFF: Well, they're basically a 115 stuffed inside a 412 box. So, you know, you uniform the fit with the backline. I'm playing Aria basses. Aria Black & Gold is the one I prefer.
Q: What happened to the Ricky [Rickenbacker]?
CLIFF: The Ricky needs some work. I had an Alembic for a while, which I was very happy with until it was STOLEN!! If anyone out there comes across a black spoiler bass with a fair-sized chip in the back finish, up around the side of the peg head, it very well might be mine, so... just send it to me.
Q: On the new album I heard some short bass solo type thing where you're using volume pedals. What's that about?
CLIFF: On this album it's the intro to a song called "Damage," done all on bass. It's about eight or 12 tracks of bass, a lot of harmonies and volume swells and effects and stuff. I would hesitate to call it a bass solo, it's more just an intro, but it is all bass. There's also a little bass solo in "Orion," it's right next to a little guitar solo. No one will probably be able to tell that it's bass, but it is.
Q: That's cool. Is it in the first break?
CLIFF: Nah. It's, uh, probably about two-thirds of the way into the song. Q: I noticed, in some of the older songs, you've added a lot of fills that you weren't doing before.
CLIFF: Yeah, well, you get so you know the song like the back of your hand and you can just flip off and do different stuff. It's funner that way, it keeps me entertained. You know, something to do.
Q: What are your favorite songs from the first album?
CLIFF: (grunts)
Q: Probably, "Anesthesia?"
CLIFF: Uh, I don't really consider that a song.
Q: But that's your showcase there.
CLIFF: Well, yeah, but a song is a song, you know? That's a solo.
Q: That's true. Well, what are the ones you like playing live, out of the older stuff?
CLIFF: I like playing "Seek" live. It's easy, you know, I don't have to pay attention to what I'm doing. "Four Horsemen" is fun.
Q: Yeah, I noticed Dave [Mustaine of Megadeth, ex-Metallica guitarist] didn't play that on New Year's Eve.
CLIFF: Oh yeah?
Q: Dave left "The Mechanics" out of the set.
CLIFF: I didn't get a chance to see Dave that night.
Q: Not very many people did; they started before eight o'clock. I just though it was kind of strange. They definitely made a point not to play that in the set, and they always used to close with that.
CLIFF: Hmmm, that's interesting.
Q: Tell us about the Spastic scene [Spastic Children, Metallica's "joke" band].
CLIFF: Spastic Children. That's an excuse to bash a few and drink a few. You know, Spastic Children are a bunch of FUCKIN' ASSHOLES!
Q: OK. So, that's made up of you on bass... give me some details on this.
CLIFF: You want details on this, huh, Harald? Q: If it's cool. Unless it's something you don't want massively publicized.
CLIFF: It's probably best not. Then everyone else is gonna ask me about it, right? Every time I go into an interview it'll be, "Oh, what's this?" Forget about it!
Q: It's just going out and thrashing, having a good time and not worrying about what it sounds like too much, eh?
CLIFF: We're not worried about much of anything. It's just something to do on a, you know, Tuesday night, when you don't have anything else to do. No big deal.
Q: Do you have anything to say to aspiring musicians? Let's say in your past, what did you do to stick it out? What's your advice?
A: Well, when I first started I decided that I would devote my life to it.
Q: That's probably the only way you can go anywhere, right?
A: Well, it works for me. I imagine there's a lot of people that devote their lives to it and don't achieve the success they want. I mean, there's many factors involved here, but that would be the main one, to absolutely devote yourself to that, to virtually marry yourself to that--what you're going to do--and not get sidetracked by all the other bullshit that life has to offer.
nedjelja, 19.03.2006.
The Thing That Should Not Be
Messenger of Fear in sight
Dark deception kills the light
Hybred children watch the sea
Pray for Father, roaming free
fearless Wretch
insanity
He watches
lurking beneath the sea
great Old One
forbidden site
He searches
Hunter of the Shadows is rising
immortal
in madness You dwell
Crawling Chaos, underground
cult has summoned, twisted sound
Out from ruins once possessed
fallen city, living death
fearless Wretch
insanity
He watches
lurking beneath the sea
timeless sleep
has been upset
He awakens
Hunter of the Shadows is rising
immortal
in madness You dwell
Not dead which eternal lie
stranger eons Death may die
drain you of your sanity
face The Thing That Should Not Be
fearless Wretch
insanity
He watches
lurking beneath the sea
great Old One
forbidden site
He searches
Hunter of the Shadows is rising
immortal
in madness You dwell
četvrtak, 09.03.2006.
KEEPER OF THE SEVEN KEYS
Make the people
hold each other's hands
and fill their hearts with truth
you made up your mind
so do as divined
Put on your armour
ragged after fights
hold up your sword
you're leaving the light
make yourself ready
for the lords of the Dark
they'll watch your way
so be cautious, quiet and hark
You hear them whispering
in the crowns of the trees
you're whirling 'round
but your eyes don 't agree
will 'o' the wisps
misguiding your path
you can 't throw a curse
without takin' their wrath
Watch out for the seas of hatred and sin
or all us people forget what we've been
our only hope's your victory
kill that satan who won't let us be - kill!
You re the keeper of the seven keys
that lock up the seven seas
and the seer of visions said before he went blind
hide them from demons and rescue mankind
or the world we're all in wilI soon be sold
to the throne of the evil payed with Lucifer's gold
You can feel cold sweat
running down your neck
and the dwarfs of falseness
throw mud at your back
Guided by spells
Of the old seer's hand
you're suffering pain
only steel can stand
Stay well on your way and follow the sign
fulfill your own promise and do what's divined
the seven seas are far away
placed in the valley of dust heat and sway
You're the keeper of the seven keys
that lock up the seven seas
and the seer of visions said before he went blind
hide them from demons and rescue mankind
or the world we're all in wilI soon be sold
to the throne of the evil payed with Lucifer's gold
Throw the first key into the sea of hate
throw the second key into the sea of fear
throw the third key into the sea of senselessness
and make the people hold each other's hands
the fourth key belongs into the sea of greed
and the fifth into the sea of ignorance
Disease, disease, disease my friend
for this whole world's in devil's hand
Disease, disease, disease my friend
throw the key or you may die
On a mound at the shore of the last sea
he is sitting, fixing your sight
with his high iron voice causing sickness
he is pIaying you out with delight
man who do you just think you are?
A silly bum with seven stars
don't throw the key or you will see
dimensions cruel as they can be
don't let him...your power
throw the key...!
An earthquake, squirting fire, bursting ground
Satan's screaming, and earth swallowing him away!
You're the keeper of the seven keys
you locked up the seven seas
and the seer of visions can now rest in peace
there ain't no more demons and no more disease
and mankind, live up, you're freee again
yes the tyran is dead, he is gone, overthrown
you have given our souls back to light
