FORTUNE, HARLAN CAGE and L.A. stories - Interview with Larry Greene

Larry “L.A.” Greene’s music career has spanned decades. Song writer and singer, he has performed most notably with the bands FORTUNE and HARLAN CAGE. In his long music career he has written and performed songs for movies like “Top Gun”, “Over The Top” among others, and television series. Crystal Logic speaks with Larry about his past bands, music and other interesting things. Enjoy.

How was the Los Angeles music scene back in the 80s, during the Fortune years?

The LA music scene had a unique heartbeat in the 80's. There was the Sunset strip Mötley Crüe - nail your bands fliers to the telephone poles outside of the Whisky a go-go crowd - right along with the back alley sex and drug groupies chasing the Guns and Roses sound-a-likes. Then there was the Toto, Steely Dan crowd engulfed in a much diversity as you could still call truthful. It was a crazy energetic time. It was also the peak of the recording labels glory - of course they had there own set of demons, but that’s probably a question for another day.

Along with Roger Scott Craig, you contribute a lot at the recordings and the final result of the famous “Fortune” album that was released back in 1985. This album had great impact in the music scene of that time, but after that you split. Let us know all the details behind the recordings, the promotion, the problems you had with your label, and eventually, the reasons of disbanding.

We started recording “Fortune” at Sound City in the San Fernando Valley just north of LA. By the time we finished we'd used several studios just trying to stay ahead of the craziness that seemed to follow us around. Kind of like dancing on the edge of a very sharp razor - if we didn't keep moving we'd bleed out. I think we finished at Village Recorders in Santa Monica about six weeks after we started.

We were with Camel records at the time. They were a subsidiary of MCA that was run by Bruce Bird and some of his gangster friends. Just after the release Bruce’s brother, Gary Bird, was busted for some kind of shady payola on the East Coast.  When MCA heard of it, they immediately terminated their association with the Camel label. That was the beginning of the end for us. Along with the bands Giuffria and Night Ranger (we were the only 3 bands on the label at that time), most of the other labels around town were afraid to touch anyone associated with that payola thing. It was a big deal at the time and something totally out of our control - kind of like descending into a bad dream you didn't know was out there.

What was your music background before Fortune?

I started playing and singing professionally before I could drive a car.  When I was 14 I signed with Capricorn Records in a band called Odyssey. We didn’t make much money, but the school girls thought I was real cool. And just as mania always seems to have the wind to its back, I went full speed ahead, eager to go pissing in the tall weeds with the big dogs - if you know what I mean.

I toured with several bands when I first got to LA.  I had just signed with RCA Records in a band called Teaser when I met Richard Fortune. It was about a year later when I joined Fortune with Richard, Roger, Mick and at that time David Deleon on bass before Bobby Birch came on board. 

After the departure from Fortune, you create Harlan Cage with Roger. What have you done until the mid-90s, when “Harlan Cage” was released? Let us know about your collaborations in movies’ soundtracks.

I met Giorgio Moroder in 1984 while I was still with Fortune.  I sang the song “Reach Out for the Medal” for the Olympic Games that year. Michael Dilbeck, the music supervisor for CBS at the time, called me about the possibility of singing a few songs to get Kenny Logins interested in performing on the much anticipated film “Top Gun”. When I sang “Through The Fire” I didn’t really think they would use my version, but Giorgio liked it and he had the final say. Then “Over The Top” came along. That gave me two songs to brag about.  Even though the film wasn’t very popular at the time, it's got a weird semi-cult following now - especially in Japan. I sang a song on the film “Mystic Pizza” a year later - Julia Roberts' first. Then on to many more lesser known.

Until early 00s, Harlan Cage had significant success mainly in Japan. Which ones were your most memorable moments of that course?

The first 3 Harlan Cage CD’s on King Records did really well. We got nice numbers on their Burrn! magazine charts as well as interviews, pictures and airplay on the rock stations. I’ve always loved the Japanese for the music they like. They’re real a diverse lot and really passionate. When the tsunami hit we contributed a H.C. song called “Sinners Grove” for the “Rock for Japan” CD released in Germany and throughout Europe. Hopefully that helped in a small way. 

What the name Harlan Cage stands for?

I got the picture of Harlan Cage as an American folklore character - beggar, thief, preacher man - around the time of the US civil war. Teethed on a crucifix - cradled in the delta – somewhere between a profit and a liar - I honestly don’t really know what’s true and what isn't.  I just liked the way it sounded.  Like Jethro Tull or Leonard Skinner (Lynyrd Skynyrd). A band of another mans name.

What AOR means for you and which ones are your favorite bands?

I never cared for the tag AOR, or any other name pinned on us. I knew we were compared to a lot of other bands, especially with Fortune, but it seemed a real drag that the record companies felt like they had to label everything just to get airplay. I hated it - but I actually think I liked most of the melodic rock bands back then - Foreigner, Journey, Guns and Roses. Bands like Foo Fighters are right where we left it off. I guess sometimes what’s good, bears repeating.

How easy or difficult was for a melodic rock / AOR band like you to create this kind of music in the United States of the mid 90s to mid 00s?

I think most of us who weren’t ultimately successful with the bands we started out with, pulled away from live performing in the 90’s and 00’s and went behind the consoles as engineers and producers. Survival pushed me once again into post-production films and television. I guess I already had a head start with the films I had done earlier, so it really wasn't too hard of a transition. Sometimes I feel like I'm walking on a rubber floor that keeps bouncing me back no matter how many times I fuck up.

Do you think you had a missed chance for bigger commercial recognition with Harlan Cage or you meant to stay for few but tasteful listeners?

We wanted to reach as many people as we could with Harlan Cage. I think both Roger and I really enjoyed busting out that kind of music when no one else was doing it. I guess by the time we put together the first few CD’s, the melodic rock scene was all but dead in the US. We became an export only band – a couple of illogical lunatics trying to make sense of it all.

I’ve always believed that if more people would listen to bands like Harlan Cage or my beloved Praying Mantis, our world would be better. The positive aura and the feelings of your music are capable to relax the mind and soul. From where all these bittersweet emotions that flow from your music and lyrics are coming from? It is summer now also and I remembered “98 in the Shade”… All these love stories and broken-hearted tales are coming from your reality?

I'm glad to hear our music touched you. Thanks for the compliment. There’s always been a little slice of life in the lyrics I write - although I must admit sometimes I just make it all up. I think I heard Tom Waits say “people don’t really want the truth as much as they want to be amused”. That said - there are a number of exceptions. The song “As You Are” about a relationship I treasured for what it became and not for what is was supposed to be, is definitely one of them. There are others too - “One New York Morning” was all of that. 

What’s your daily occupation?

I’ve been blessed being able to make a living in music and in the music business. It’s changed from the way it used to be, but non the less satisfying. I've recently written and performed songs for HBO, FX, AMC, and lots of others I can't remember. I'm also writing for other artists and still working on films that come my way.

What’s the status of Harlan Cage? Is there any chance for a new album?

I can’t really say about another H.C. album. It would be tough for Roger and I to make the time right now for the labour of love it would take for an honest CD we could be proud of, but with that said, I’ll always leave the door a jar.

Thanks for your time!

I hope you found this interview informative and thanks again for all of your support and encouragement throughout the years.

Larry Greene Official Site 

HARLAN CAGE discography

Harlan Cage CD - 1996

Double Medication Tuesday CD - 1998

Forbidden Colors CD - 1999

Temple Of Tears CD - 2002 

HOUR OF 13 - Interview with Phil Swanson

Hour Of 13 is among my favorite bands of the last years and their occult heavy rock / metal with doom elements seduces me. At the end of the month, their third album "333" will be released from Earache records and I took the opportunity to speak with the great singer and person Philip Swanson about the band and other interesting things.

What is the status of the upcoming album and what should we expect?
 
Album is done and at pressing as I type for a May 29 release. It actually is streaming now online at the Soggy Bog podcast in its entirety. You can expect a much more mature effort both vocally and lyrically and musically more dynamics I would say.

So far you have a solid presence as a band, twisting around heavy rock, old British metal, doom and the occult. Where do you thing Hour Of 13 stand for today’s metal music?

As for modern metal music we are quite primitive in comparison. We are obviously treading in familiar waters and living much in the past but in a current relevant present with the doom leanings that are so popular at this time.

What is your inspiration and influences for the Hour Of 13 lyrics? I know there is a lot of underground cult and horror cinema beyond your words. Even the cover of “The Ritualist” is from a scene of the old Swedish/Danish film “Häxan”.

Originally as the idea for an occult band was virgining I had in mind inspiration from most importantly Angel Witch but also Christian Death as well as Coven (thrash), Talon (aka Sedition) and Satans Massacre. I just used those influences to form the template then went in my own direction of realizing satanic panic of the 70s and 80s which I guess works so well due to the fact the music is so influenced from those eras.

We both share great respect and love for Black Sabbath and NWOBHM. Which bands of today do you think stay true to such a state of originality?

There allot that do and allot more that say they do but don’t at all. But as I type I am listening to Lord Vicar and they most defiantly stay true also I think Northwinds, Touch the Spider, Horrors of the Black Museum, Year of the Goat, Steel Mammoth, Grand Magus to name a few. To me you have to have a certain rawness to have the NWOBHM appeal and a special progression to carry the Black Sabbath flag honorably.

Atlantean Kodex is another one band I totally support and admire. What do you remember from your days with Manuel and the rest of the guys? Until now, “The Hidden Folk” remains the landmark song of this band that represents the whole essence of Atlantean Kodex.

You make it sound so long ago hahaha! What I remember most about working with Manuel and Florian was their patients with me. I am very one dimensional in comparison. They both had very strong ideas and I tend to myself and the fact we were able to get as far as we did was an accomplishment in itself. It was a huge honor for me to have that chance to work with a foreign band and really paved the way for me. I learned allot from that experience and since made a very conscious effort to be patient enough to be the kind of singer they wanted at that time. Now I have my own resume I am much more comfortable takeing on the role as a session singer or as I would describe it an “instrument”. I don’t do it with Hour of 13, Seamount or Vestal Claret and I do write all my own melodies but Ive allowed myself with Briton Rites and Lords of Triumph to sing other peoples words now and on a more recent unheard project even allowed some melody coaching. I mostly now want to do that to add some variation to my bands and there has become so many.

Seamount, Vestal Claret, Briton Rites… how do you manage to work with all these bands? And by the way, in which development stage are you with Howie Bentley and the upcoming Briton Rites album?

Its all about my mood, usually when I'm stressed or frustrated I turned to writing to escape my ordinary life much like some would turn to drug or drink. So I mange my music much like an alcoholic or drug addict I guess? Over indulgently and out of control. Howie had just emailed me the other day actually and we have four songs written and planning four more, I hope to have it done by years end. I'm not as anxious as I used to be so whenever Howie's ready I am.

What is your personal perspective for religions, today’s society and world?

I find it obsolete actually unless is more scientific or spiritually unknown. The only problem I have with religion is its insistence of trying to define God or something obviously undefinable or unexperienced.

What kind of person is Chad Davis and how it is working with him?
 

Chad and I get along great when together but that’s a rarity we are more involved in a professional relationship. We live completely different and separate lives and work independently of each other on our parts to Hour of 13. There is really no input from either side, just allot of faith and trust in each others individual talent.

Five years after the great self-titled debut of Hour Of 13, how do you see it now and which are the most memorable moments of this journey to the occult?

A long difficult and seldom rewarding road. Getting that concept completed that appeared on the first record was a very difficult turbulent time. Looking back it makes me proud that it has paid off from a simple whim of an idea to what it has become today. The single most memorable moment that will stand the length of our career I think Chad and I would agree is our live debut at Dublin Doom Days fest, just an incredibly surprising moment.  

Discography

Hour Of 13 (Shadow Kingdom Records - 2007)

The Ritualist (Eyes Like Snow - 2010)

Possession / Darkness - single (Svart Records 2010)

The Rites Of Samhain - EP (Yersinia Pestis 2010)

333 (Earache Records 2012)

EVIL-LŸN INTERVIEW - The sound of battle cry in the night of delusions...

Evil-lÿn is definitely one of the best newcomers in the Heavy Metal world for this year. Hailing from Finland, their recent debut release is a mini CD entitled “The Night of Delusions” and after their stunning appearance in Up The Hammers festival in March 2, I had to interview the band and present it to you. So, have a sit, press HERE if you haven’t heard anything from Evil-lÿn yet, read the detailed interview with Anssi Salonen (guitars), Marko Niemi (bass), and Johanna Rutto (vocals), and then go and grab “The Night of Delusions”.

First of all, what does Evil-lÿn means?

Anssi: Haha, well, Evil-lÿn is a character in Masters of the Universe comics / cartoons / movie. An evil sorceress. I am huge fan of Masters of the Universe. At first it seemed weird to name the band after a female character, but then again names like Alice Cooper and Lizzy Borden work like charm.

Let’s go back in time. What’s the story of Evil-lÿn?

Anssi: Well, we started as a hard rock band. Me and Lasse have been in the band since the beginning. We played at the garage for a few years which were a bit problematic during winters. We also went through quite a many line-up changes. The nice part was that with each change we moved forward. Of course there were times when it felt like we were going nowhere, but you just have to keep your cool and work hard. With the current line up, things clicked right away.

-How old are the songs of “The Night Of Delusions” and when were they recorded? Do you have other compositions?

Anssi: 2-3 years old. We recorded the EP last summer (summer of 2011). Jani Niemelä, our drummer, did the engineering, recording, mixing and so on. We used outside help only for the mastering. Yes, we do have some other compositions and I think we will put one older song on the first full length; 13th Hour, the one that has been opening song of our shows.

You came in touch with Iron On Iron Records from Greece to release your first official album (a mini CD). Did you have any demo recordings before that and how did you come with this deal?

Marko: Yes, we did record a couple of songs back in 2009 with intent do create a demo and send it to record labels and gig promoters etc. But after all it didn't go as planned, since we were doing it ourselves without proper knowhow (and time) and we never finalized it properly. Things changed a lot when Jani joined the band in the beginning 2011. He is experienced and talented in recording, editing and mixing. This time we had better material so started to record five songs with a purpose to select three best fitting songs for demo. This time we put some raw versions of “Four Horsemen” and “Last of my Kind” into MySpace and our webpage. And instantly we got attention from some record labels. Iron On Iron wanted to release all five songs as MCD and we found them fitting for us, so selected them.

In March you played at Up The Hammers Festival in Athens. Which are your impressions from the festival?

Marko: It was awesome! It was so great to notice that even if the crowds didn't know our own music beforehand, they took us well. They were banging their heads, making a lot of noise and stage diving throughout the show. Excellent audience and excellent opportunity for us to play! We had the best time over there. People were so open, polite and helpful all the time and we got a lot of new friends out there. From the other bands, but from the crowd as well. Memory of that trip will stay in our metal hearts forever.

Anssi: Amazing festival and amazing audience! I really liked the atmosphere and the setting; small club in the middle of the city. For me it was probably the best festival experience besides my first visit to Keep It True. People at the UTH were very friendly and open minded, I made a lot of new friends, which is always nice!

Johanna: Up The Hammers was an amazing festival! It was our first gig outside of Finland, and I was really surprised how the audience was so involved. You won't see
that kind of energized audience in Finland so often. Best gig I've been this far!

I saw you guys with t-shirts from Sortilège, Stormwitch and Crimson Glory in your last concert. Which are your main influences?

Anssi: Hard to say, there's so many. Mercyful Fate and King Diamond have shaped this band a lot, but their influence might not be that audible anymore. Maiden and Running Wild are two pretty obvious, but there's so many. Some of the “Maiden-influences” actually come from vanadium etc. so there's a lot influences and they're mixed in mysterious ways. This is actually a topic of which I could speak for hours, but let's leave it here. If someone is interested I'm always happy to chat about this subject at festivals etc.

Marko: I think the main influences are still bands like Iron Maiden, Manilla Road, King Diamond/Mercyful Fate, Judas Priest and Running Wild. There is still a punch of other bands that we listen to. Even if I like to wear my Maiden/Trooper or Running Wild T-shirt, I sometimes like to put something else on.

Johanna: Our songs are mainly written by Marco and Anssi, so the influence in our music comes mostly through them. I think many of our fans can hear sounds of
Iron Maiden, Judas Priest and many others 80's heavy metal legends. Personally I can't name my influences particularly as a singer. I like to listen very extensively
Heavy Metal, and it does not really matter if it's singed by female singer or not. Strong voice and good spirit is the most important things for a vocalist and of course great charisma on stage. One great example of great female fronted bands is Finnish Battle Beast.

You step in the band in early 2011. Did you participate in another band before and how did you join Evil-lÿn?

Johanna: I've been singing in many projects over the years before I joined in Evil-lÿn, last of them was doom/sludge band called Slug Lord. I moved in Tampere in summer of 2010, and after a few months I talked with Lasse over the internet, and he told me that they are looking for a new singer for their band. After I told that I've singed in a few bands before I moved in Tampere, he asked me if I would come to their rehearsals and sing some of their songs, and of course I said yes! After rehearsals guys decided to take me for their new lead singer.

And that was a great choice! Which are you other memorable moments from your live shows until now?

Johanna: Most memorable gig this far is of course our show in Up The Hammers festival because of the things I listed before. But after that comes our gig in Metal Warning festival in Finland last autumn. We played on same stage with so many great bands. There were lots of energy and the audience was great. Our show was energetic, and we played our gig by full throttle, even though I had terrible sore throat. I was sick but it didn't matter, because the atmosphere was so amazing. I also like to remember our first bigger festival gig at Jalometalli festival in northern Finland last summer. There were also big names of metal like Sepultura, Sodom, Napalm Death, Oz, Evil Dead etc

Anssi: “Heavy Metal Angels” at UTH! Best moment ever. Each time someone in the audience is singing one of my songs is a memorable moment for me. Also the little things can be quite memorable; at one Finnish festival, Jalometalli, I was going to switch on my amp before our show, but the festival staff had already switched it on and also bought towels and water on stage. That was weird for a small band like us and as such was quite memorable; a little taste of the bigger circuits, haha.

Marko: Meeting guys from the bands, like for example Metalucifer, Pagan Altar, Oz and having fun with them is one side of the coin. And the other side is how audience has taken us. We have had memorable moments (before Up The Hammers) on stage for example in Jalometalli, Sauna Open Air festival after party last year, Metal Warning IV festival in Helsinki. Some other smaller shows where the crowds did go wild, maybe supporting Helvetets Port in Tampere last November needs to be mentioned. The rest of the shows have been fun as well, but these listed, have been the most memorable shows. But, Up The Hammers festival topped this list instantly and clearly. I still can't fully believe it happened for real, it was so awesome show and great journey to Greece in all!

How are things in Finland for Heavy Metal music? Does it get publicity in more mainstream or commercial media?

Marko: Heavy Metal is getting a lot of attention in Finland. Heavy Metal music is getting a lot of radio play, there are solid printed media for Heavy Metal and we have a lot of metal festivals if you consider the population of Finland. But we also have highest density of Heavy Metal bands in the world. It means one smaller band like us don't get much attention. But our direction is good at the moment, so I can't wait seeing our picture in the front cover of the Inferno magazine some day, haha...

Johanna: There're lots of metal bands in Finland, and that’s why it's pretty difficult to get publicity for that kind of music because of the oversupply. I could say that there is almost every day some kind of metal gig in some part of Finland, and more gigs at weekends in biggest cities. Most of the metal bands are playing death metal, thrash metal or other melancholic style metal, but there are not so much bands that play old school heavy metal, like we do. It's still pretty rare to hear metal in commercial media, although there are few exceptions. Anyway, Heavy Metal and its by-products are commonly acceptable. There're lots of heavy/rock oriented bars, clubs, record stores, clothing stores etc. so there's no any problems to find other metalheads in Finland.

Anssi: Well, the mainstream metal does get attention. It's a bit complicated; stuff like Nightwish is huge in Finland, even in the mainstream media and gets played in radio, supermarkets, wherever, but stuff like Crimson Glory doesn't. It's a shame. There are so many mainstream metal bands and so much exposure for mainstream metal that a lot of people don't feel the need to dig and find great bands on their own, that's why lot of classic underground bands don't have that great following in Finland although bands like Maiden can sell out stadiums! In a country with only 5 million people… That's crazy.

You have a new mini CD out and maybe it is early to speak for near future plans, but I saw the spark in your eyes, so which are your future plans?

Anssi: Oh yes, we have already set our sights on forthcoming full length. At the moment we are writing and rehearsing new material. I think we will soon start the pre-production; you know, do some demos, see what works and perhaps fix some bits and pieces. Hopefully we can start recording the actual full length this summer.

Marko: Our future plans contain a lot of new songs to be written and starting the recordings for the full length album during the summer 2012. Actually, we have already about 7-8 ready for the album. And both Anssi and I have some other unfinished new ideas that we haven't played with the band yet. So, stay tuned. We have a new release coming. Cannot say any dates yet but maybe the release will be out next winter.
We are taking some time off from live shows on purpose, in order to get that release out. But of course we are willing to do all the festival shows that we are offered, and especially those that are abroad. We have played a lot in Finland, but only once abroad. So, all the shows abroad are welcome. Some are on the plate already but I can't yet tell more about them. And on top of that, we have been discussing about signing a management deal with one European management company that seems to be willing to do a lot work for us to get us a bigger name. While I'm writing this we are just considering about the cons and pros, but it seems that there are no lines on cons side.
So yes, if you saw us hungry for more that is 100% true. We want to feel the same spirit like in Up The Hammers many more times in future. I think our UTH show was what playing in Heavy Metal band is supposed to be about, throw yourself fully in and get something in return from the audience! The best feelings ever... I need more of that adrenaline.

Johanna: We have made some new songs and I can't wait get to record them, and playing them live. We don't yet have precise schedule for the record sessions, but it starts probably in next summer. All five of us are much exited to make a new record, and we wish to get lots of gigs. Hopefully we get some of them in foreign countries also, because Up The Hammers festival showed us how great it could be.

Thank you guys, hope to see you again in Greece, soon.

Live photos by Mika Saloranta.

Evil-lÿn official site 

Evil-lÿn – The Night of Delusions

Iron On Iron Records (2012)

The last years there are lot of bands that return to more traditional heavy metal paths. Some of them return to the glorious days of New Wave Of British Heavy Metal and 80s metal, sounding like Tokyo Blade, early-Iron Maiden and other acts of that time, while others are playing like Mercyful Fate/King Diamond. Evil-Lÿn is definitely a band that respects these names and seems devoted to the real Heavy Metal sound, but they sound fresh and not just a replica of an old famous band. The vocals of Johanna are powerful and fit perfect to the music. They are far from all these boring operatic and symphonic female singers, and are closer to the likes of Leather Leone (Chastain) or Marta Gabriel (Crystal Viper). Apart from the vocals, the rhythm section is solid and works perfect but the element that takes you by storm, is the guitar riffs and solos. They are simply amazing. Just listen to songs like “Four Horsemen” and “Last of my Kind”. It seems that these guys have listen (and study) very well the music of early Iron Maiden, Judas Priest, King Diamond, Stormwitch, Running Wild and Omen. All the great aspects we love in Heavy Metal are here, with crystal clear production, very well constructed compositions, passion and inspiration.

 

No flag or uniform ever stopped a bullet from a gun...

I wanted to write so many things, but then, there are some songs that have said them already…

OUT IN THE FIELDS

It doesn't matter if you're wrong or if you're right
It makes no difference if you're black or if you're white
All men are equal till the victory is won
No colour or religion ever stopped a bullet from a gun

Out in the fields the fighting has begun
Out on the streets, they're falling one by one
Out from the skies a thousand more will die each day
Death is just a heartbeat away

It doesn't matter if you're left or to the right
Don't try to hide behind the cause for which you fight
There'll be no prisoners taken, well the day is done
No flag or uniform ever stopped a bullet from a gun

Out in the fields the fighting has begun
Out on the streets, they're falling one by one
Out from the skies a thousand more will die each day
Death is just a heartbeat away

There's no communication
No one to take the blame
The cries of every nation
Have fallen on deaf ears again

Out in the fields
They are falling one by one
No flag has ever stopped a bullet from a gun
Death is just a heartbeat away, a heartbeat away
Death is just a heartbeat away, a heartbeat away

The fighting has begun
They're falling one by one
A thousand more will die each day, out
Out in the fields…

MILITARY MAN

Mama take a look at your boy, he's a military man
Papa take a look at your boy, he's crying
Papa take a look at your boy, he's a soldier
Mama take a look in his eyes, they're colder

Papa take a look at your boy, he's a military man
Mama take a look at your boy, he's dying
Papa take a look at your boy, he's fighting
Mama take a look at your boy, he's frightened

They have trained your boy to kill
And kill some day he will
They have trained your boy to die
And ask no questions why

Papa take a look at your boy,
Take a look at your boy,
Take a look at your boy.
He's a killer, yeah

Mama take a look at your boy,
Take a look at him now,
Take a look at your boy.
He's a soldier, he's colder, he's older, mama

Mama take a look at your boy,
Obey the order.
Mama take a look at your boy,
Like a lamb to slaughter.

They have trained your boy to kill
And kill some day he will
They have trained your boy to die
And ask no questions why

One day I will write for you a love song, mother
As the children say: "I love you", please hold me
And you and I, we will live our life together
Until that day when we die, I will love you, mother
I will always love you

I am writing from this war
Oh mama, I don't know what I'm fighting for
And have you seen my children?
God bless them, kiss them
And tell them that I miss them.

See I'm frightened in the dark, mama, mama...
The blood is ankle deep
They have trained your boy to kill
And kill someday he will
They have trained your boy to die

Papa take a look at your boy,
take a look at your boy,
take a look at your boy.
He's marching, he's a soldier

Oh mama, oh mama
He's on the street
He's marching to the backbeat

AFTER THE WAR

So many came before you

The prisoners of fate
A history of bloodshed

A legacy of hate
But where will you be standing 

when the battles have been won?
Inside your lonely fortress 

the battles just begun.

After the war who will you be fighting for?

After the war is over
After the fire is burning to its dying embers
After the war…

A letter from the draft board put paid to all your dreams
You’re just another number in military schemes
They marched you in a uniform you wore against your will
With lies of hope and glory they taught you how to kill

“Out In The Fields” and “Military Man” are taken from

Gary Moore’s album “Run For Cover” 1985

“After The War” is taken from

Gary Moore’s “After The War” 1989

Dedicated to Phil, Cozy and Gary.

Up The Hammers Festival VII

Το ετήσιο ραντεβού για ένα εκ των σημαντικότερων και σπουδαιότερων Heavy Metal festival, έφτασε. H εβδομάδα – Up The Hammers ξεκινάει την Πέμπτη, 1^η Μαρτίου, όπου θα προηγηθεί το warm-up του φεστιβάλ στο Κύτταρο (Ηπείρου 48 & Αχαρνών) και θα εμφανιστούν οι Finger Of Scorn (tribute μπάντα στους θρυλικούς Cirith Ungol), Released Anger, Wrathblade, Hardraw και ως special guests οι Shok Paris. Οι πόρτες ανοίγουν στις 19:30 και η είσοδος είναι 10€

Την επόμενη ημέρα, όλοι οι δρόμοι οδηγούν στο An Club (Σολωμού 13-15, Εξάρχεια). 

Εισητήρια υπάρχουν ακόμα διαθέσιμα, προς 30€ την ημέρα, στα καταστήματα: No Remorse (Γαμβέτα 4), Sirens Records (Νικηταρά 14) και Ticket House (Πανεπιστημού 42, εντός στοάς.

Το πρόγραμμα έχει οριστεί ως εξής

Παρασκευή, 02 Μαρτίου:

Οι πόρτες ανοίγουν στις 16:30

17:00 – 17:30 Witchcurse

17:45 – 18:20 Gae Bolga

18:35 – 19:15 Sorrows Path

19:30 – 20:10 Evil-lÿn

20:25 – 21:20 Holy Martyr

21:35 – 22:35 Pagan Altar

22:50 – 00:10 Shok Paris

Σαββατο, 03 Μαρτίου:

Οι πόρτες ανοίγουν στις 16:00

16:30 – 17:00 Lethal Saint

17:15 – 17:50 Serpent Saints

18:05 – 18:45 Axevyper

19:00 – 19:45 Valor

20:00 – 20:50 Metal Inquisitor

21:05 – 22:10 Cloven Hoof

22:25 – 23:35 Skyclad

23:50 – 00:35 Remember Lizzy  

Οι special guests Remember Lizzy είναι μια tribute μπάντα στους ένδοξους Thin Lizzy και θα παίξουν κομμάτια που μεγάλωσαν ολόκληρες γενιές μουσικόφιλων, ενώ οι Skyclad θα παρουσιάσουν ένα ειδικό setlist με κομμάτια από τα 4 πρώτα albums τους.

Στο χώρο του φεστιβάλ θα υπάρχει, όπως πάντα, merchandise του φεστιβάλ, των συγκροτημάτων και πολλά CDs, βινύλια για όλους τους ενδιαφερόμενους, ενώ στα πλαίσια του φεστιβάλ, θα κάνει πρεμιέρα το πολυαναμενώμενο full-length των Wrathblade και η παρθενική κυκλοφορία των Evil-lÿn.

ΕΔΩ θα βρείτε πληροφορίες για το νέο digital single των Shok Paris με τίτλο "Those Eyes"

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