1964  Mick Jagger
Mick Jagger, Keith Richards and Andrew Oldham attended a Decca launch party at the Ex-Serviceman’s Club, Windsor, Berkshire for Oldham’s protégé singer Adrienne Posta, whose debut single, ‘Shang-A-Doo-Lang’ was being released. Also at the party was 17 year-old Marianne Faithfull, with her boyfriend John Dunbar. This was the first time Mick Jagger met Marianne.

1966  Roy Orbison
During an UK tour, Roy Orbison fell off a motorbike while scrambling at Hawkstone Park, Birmingham fracturing his foot. He played the remaining dates sat on a stool and walking on crutches.

1967  Paul McCartney
John Lennon and Paul McCartney were awarded the prestigious Ivor Novello award for ‘Michelle’, the most performed song in the UK in 1966.

1971  Bruce Springsteen
Bruce Springsteen & Friendly Enemies opened for The Allman Brothers Band at the Sunshine In, Asbury Park in New Jersey, tickets cost $4.00. Springsteen had just disbanded his group Steel Mill and within a few weeks would form Dr Zoom & The Sonic Boom with Steve Van Zandt.

1972  Elvis Presley
Elvis Presley recorded what would be his last major hit, ‘Burning Love,’ which became a No.2 hit on the US chart. Written by Dennis Linde and originally recorded by country soul artist Arthur Alexander, who included it on his 1972 self-titled album. It was soon covered and brought to fame by Elvis, becoming his biggest hit single in the United States since ‘Suspicious Minds’ in 1969.

1973  Carlos Santana
Rolling Stone magazine reported that after becoming a disciple of Sri Chinmoy, Carlos Santana had changed his name to ‘Devadip’, which means ‘the lamp of the light of the Supreme’.

1979  Eric Clapton
Eric Clapton married Patti Harrison (the ex wife of George) at Temple Bethel, Tucson, Arizona. Patti applied for a divorce in 1988.

1987  U2
U2 performed from the roof of a store in downtown LA to make the video for ‘Where The Streets Have No Name’, attracting thousands of spectators and bringing traffic to a standstill. The police eventually stop the shoot.

2007  Scott Weiland
The wife of Stone Temple Pilots/Velvet Revolver singer Scott Weiland was arrested on suspicion of burning over $10,000 (£5,000) of his belongings outside their home after police in southern California found a bin of smouldering clothes. Earlier that day, the couple left two rooms vandalised after an argument at a luxury hotel.

2012  David Bowie
David Bowie’s landmark album Ziggy Stardust was celebrated with a blue plaque in central London. Spandau Ballet star Gary Kemp, unveiled a plaque at the spot where the cover of the 1972 release was shot. The location in Heddon Street, just off Regent Street, is now a pedestrianised area brimming with bars and restaurants.

2015  Willie Nelson
Country singer Willie Nelson announced that he and his family were hard at work on a new brand of marijuana called Willie’s Reserve. Stores of that same name were being planned and were to include his signature brand and other strains that would be grown to meet quality standards.

2004 Prince kicks off his Musicology tour with a show in Reno, Nevada. The average ticket costs $61, which includes a copy of the Musicology album. These are counted as sales according to Billboard, so the album rises to #3 (his previous three albums failed to chart). The tour takes in $87.4 million, making it the highest-grossing of 2004.

On This Day in Music

And on the seventh day God finished the work that he had done, and he rested on the seventh day from all the work that he had done.  And while God rested, the devil created Heavy Metal

1967 – Before the Storm

Lately things don’t seem the same… (Jimi Hendrix Experience – Purple Haze)

Unlike the creation of, well, creation, which (allegedly) only took six days, Heavy Metal took a slightly longer bath in the primordial stew before making it’s grand entrance onto the world stage. For the sake of brevity, we begin our journey in the 1960’s.  The early half of the decade witnessed an unparalled explosion of popular music.  Vanguard acts, such as The Beatles (I Wanna Hold Your Hand), The Rolling Stones (Paint It Black), The Who (My Generation), and The Kinks (You Really Got Me), emerged as the “third generation” of rock and roll (behind the blues originators and the Elvis Presely/Little Richard generation).  Each of these groups contributed to the creation the “rock band” archetype: loud, unpredictable, rebellious, and even dangerous.  By the latter half of the 1960’s, the next generation of “rock stars” began to sow first seeds of protypical Heavy Metal.  Drawing inspiration from their blues and rock and roll forebearers, “hard rock” acts, like Cream (Tales of Brave Ulysses), Led Zeppelin (Communication Breakdown), and The Jimi Hendrix Experience(Voodoo Child), provided the soundtrack for a generation increasing disaffected by social injustice and the escalating war in Vietnam.  What differentiated these acts from their predecessors was technological advances that enabled new heights in sonic disruption(Blue Cheer – Summertime Blues).  These acts were markedly louder not only in volume, but in weaving of brutally blunt social commentary into their lyrics. Heavy Metal began to take shape…

1970 – The Birth of Heavy Metal

What is this that stands before me?(Black Sabbath – Black Sabbath)

Black Sabbath (1970)Just as physicists point to the Big Bang as the origin of our universe, so too can we pinpoint the exact moment and location when heavy metal burst forth onto the scene. That place and time?  England’s West Midlands, Birmingham to be exact, in 1968. What happens when you have a generation come of age in an economically depressed industrial town during an era of lost innocence? Well, Black Sabbath (Paranoid) happens. The quartet forged a sound that recalled the clamor of the steel mills(Iron Man) that dominated landscape of their hometown. In the process, they unleashed a sonic revolution. Black Sabbath succeeded in synthesizing early rock ‘n roll, hard-edged blues (Fairies Wear Boots) and the “Devil’s Interval” with a nightmare and a long line of patrons at a movie theater to see a horror film starring Boris Karloff (incidentally titled Black Sabbath). Black Sabbath forged an entirely new and unique musical path, marked by Tony Iommi’s brooding guitar riffs, Geezer Butler’s intelligent lyrics and thundering bass, Bill Ward’s pounding drums, and Ozzy Osbourne’s, well, Ozzy. Sonically, the music was starkly dark and ominous, standing in stark juxtapositon to the “flower power” pop music of contemporary acts. Lyrically, Sabbath openly addressed socially taboo subjects ranging from political corruption (War Pigs) to recreational drug use (Sweet Leaf) to social ostracization (Children of the Grave). Compared to the hard rock acts of the late 1960’s, Sabbath’s compositions and performances were minimalistic in form and execution. Yet, what they lacked in complexity, Black Sabbath compensated for in terms of power and intensity. Nevertheless, Black Sabbath set the standard as the first proper heavy metal band.

1972 – The Speed Kings Get Serious

It’s gonna break the speed of sound…(Deep Purple – Highway Star)

Meanwhile, something was brewing in Hertford, just north of London. A quintet by the name of Deep Purple (Smoke on the Water) was experimenting with many of the same influences as their countrymen to the northwest. However, unlike the amateurish, workmanlike nature of Black Sabbath, Deep Purple featured a collection of professional musicians, each highly skilled and coveted for their instrumental prowess (Space Truckin’). What ensued was a hard-driving, turbo-charged, highly musical form of prototypical heavy metal, fueled by Ritchie Blackmore’s guitar pyrotechnics and Ian Gillian’s soaring vocals. The songs were equally as intense as Sabbath’s, only more complex with numerous flourishes of instrumental virtuosity (Burn). Ultimately, Deep Purple helped establish and define heavy metal as a genre while simultaneously challenging its limits and conventions. Now, if someone could only do something about the silly early-1970s clothes…

1978 – Hellbent for Leather

There’s many who tried to prove that they’re faster… (Judas Priest – Hellbent for Leather)

Judas Priest (1978)With the musical foundation laid by Black Sabbath and Deep Purple, it was only a matter of time before someone synthesized heavy metal into a complete and proper ethos. Enter Judas Priest (Victim of Changes). Like Black Sabbath before them, Judas Priest hailed from Birmingham and sounded every bit the part. Yet, Priest incorporated many of the musical elements pioneered by Deep Purple. The quintet successfully combined the darkness and intensity(Dissident Aggressor) of Black Sabbath with the musicality and complexity (Tyrant) of Deep Purple. Featuring the twin-guitar attack of Glenn Tipton and K.K. Downing as well as the unworldly vocal ability of Rob Halford, Judas Priest ushered heavy metal into uncharted territory (Exciter). Capitalizing on their unique talents, Priest ushered in an era of heavy metal that was at once highly rhythmic and melodic that interchanged between breakneck and more reserved tempos (sometimes within one song). However, the lasting legacy of Judas Priest was the introduction of the indelible image of heavy metal: leather and studs. Co-opted from London’s Soho gay club scene, Rob Halford (who is openly gay) incorporated the fashion into Priest’s stage show in the late 1970s. No one could anticipate at the time that the look would become synonymous with heavy metal. Nevertheless, heavy metal now had a look that matched the power and intensity of its sound (Metal Gods).

1982 – The New Wave of British Heavy Metal (NWOBHM)

Run to the hills, run for your life… (Iron Maiden – Run to the Hills)

With the dawn of the 1980s came the birth of heavy metal’s second generation. Still centered primarily in England, this collection of bands earned the moniker the “New Wave of British Heavy Metal,” a play on the name bestowed to the “new wave” sensation in the pop charts. Vanguard acts like Iron Maiden (Hallowed Be Thy Name), Motörhead (Iron Fist), Saxon (Machine Gun), and Diamond Head (Am I Evil?) developed a distinctly new brand of heavy metal. Although heavily inspired by the founding heavy metal bands, the music of these new acts effectively eliminated influence of the blues, instead incorporating elements of late 1970s British punk. The result was a faster and aggressively bombastic sound. Lyrical, the NWOBHM bands ventured into new territory. Songs explored the realms of fantasy and mythology (Rime of the Ancient Mariner), yet also maintained the social ire of their predecessors. Building on this creative exploration, the NWOBHM bands, especially Iron Maiden, embarked on creating elaborate, theatrical stage shows that thematically complimented their music (Powerslave). These newly explored elements resonated with fans beyond England. By the mid-1980’s, heavy metal experienced acceptance and popularity in mainland Europe, North America and South America.

1986 – Identity Crisis: Hair or Thrash?

Come crawling faster…obey your master… (Metallica – Master of Puppets)

PoisonHeavy metal experienced different interpretations as it began to disseminate globally. Nowhere was this more evident than the west coast of North America, especially Los Angeles, the San Francisco Bay Area, and Seattle/Vancouver. In Los Angeles, many bands developed a streamlined approach with a neutral, simplified sound and a focus on theatrics and showmanship. Bands like Poison (I Want Action), Mötley Crüe (Live Wire) and RATT (Round and Round) led the movement affectionately (or derisively, depending on your perspective) known as “Hair Metal.” For Hair Bands, the spectacle was the product. Metal’s most commercially successful incarnation, hair metal sold good times through simple song structures with lyrical content with a seemingly singular focus on  fast cars, partying, and the good life.

MetallicaMoving north along I-5, other bands embarked on a path diametrically opposed to the hair movement. Drawing inspiration from the original metal bands and the increased intensity of the NWOBHM acts, a new subgenre of metal coalesced: Thrash Metal. Led by Bay Area acts Metallica (Creeping Death), Exodus (Bonded by Blood), and Testament(Into the Pit), as well as Megadeth (Hook in Mouth) and Slayer (Raining Blood) in Los Angeles, Seattle’s Metal Church (Metal Church) and Vancouver’s Annihilator (Alison Hell), the thrash bands viewed the NWOBHM as an open challenge that culminated in a heavy metal arms race: harder, faster, louder. Thrash was the most extreme incarnation of heavy metal to date. Musically more rhythmic than melodic, its primary concern was complex riffs played at breakneck speed, pioneered by Metallica’s James Hetfield, Megadeth’s Dave Mustaine, and Slayer’s tandem of Kerry King and Jeff Hanneman. The thrash bands challenged the norm and openly expressed their vitriol and discontent through socially conscious and politically critical lyrics. By the end of the 1980s, heavy metal was becoming schizophrenic, developing in two converging directions with each pushing conventions to extremes.

1990 – A Turn to the Extreme

A new level of power and confidence…(Pantera – A New Level)

Heavy metal had reached a crossroads by the early 1990s. The novelty of hair metal vanished as quickly as it burst onto the scene. Thrash remained too extreme for mainstream audiences. Some thrash bands, most notably Metallica (Enter Sandman) and Megadeth (Symphony of Destruction), successfully experimented with a streamlined and commercially palatable direction. This move was a reaction to the rapidly growing popularity of Grunge (more on that in a minute). While some thrash bands turned to the limelight, others embraced the unbridled freedom of the underground. One act in particular, Dallas-based Pantera (Cowboys From Hell), enjoyed commercial success by exploring an evolved thrash-hardcore hybrid. Pantera championed many of the same conventions of thrash metal, only driven by extremes. The aggressively melodic guitar work of “Dimebag” Darrel Abbot combined with the sledgehammer vocals of Phil Anselmo created a no-nonsense, riff-driven sound that represented the natural progression in the metal arms race. Ironically, Pantera was pedestrian by comparison to the spectrum of bands exploring Extreme Metal. This broad subgenre represented the traditional conventions of metal taken to every conceivable extreme: severely detuned guitars, guttural vocals, unimaginably fast tempos, and radically taboo lyrical content. Extreme metal (which included Black [Immortal – Pure Holocaust] and Death [Death – Flattening of Emotions] metal) attracted limited, but intensely dedicated, audiences that wanted to explore the possibilities beholden in metal. A simplified or streamlined approach did not satisfy such listeners. No compromise: take it or leave it. Quite simply, the masses opted to leave it.

1992 – Grungy Days in Purgatory

Down in a hole and I don’t know if I can be saved… (Alice in Chains – Down in a Hole)

The remaining audience not alienated by metal’s extreme diversion followed the exodus created by the Grunge movement in the early to mid-1990s. The emergence of Grunge truly signaled the death knell for hair metal. Led by Seattle’s Nirvana (Smells Like Teen Spirit), Soundgarden (Outshined), and Alice in Chains (Them Bones), Grunge picked up where hair metal left off: a simplified musical approach. However, the comparison ended there. Gone were the theatrics and upbeat lyrical subjects, replaced with a stripped-down, progression-driven approach coupled with lyrics obsessed with disenfranchisement and angst. Coinciding with the global recession of 1990-1993, Grunge resonated with the masses preaching a message of resigned despair. Speaking of resignation, the early to mid-1990s saw much turmoil for some of metal’s most successful acts. In 1992, Rob Halford abruptly left Judas Priest, which entered an extended period of dormancy. Likewise, 1993 saw Bruce Dickinson quit Iron Maiden, which carried on with increased irrelevancy (Man on the Edge). The aforementioned mainstream turns by Metallica (Until It Sleeps) and Megadeth (A Secret Place) continued into the mid-1990s with similarly-veined follow-up releases to their commercial breakthroughs. With the original metal bands long since defunct (or enduring a non-stop carousel of lineup changes), heavy metal’s future was not bright. For all intents and purposes, as a mainstream commodity, heavy metal was dead. Thankfully, there’s always the underground…

2000 – Resurrection, Revolution, and Rebirth

Sell me the infection… (In Flames – Only for the Weak)

In FlamesDuring most of the 1990s, heavy metal languished in obscurity while Grunge and Alternative Rock dominated the modern rock charts. Ironically, heavy metal’s waning mainstream popularity was actually a blessing in disguise. Although the masses abandoned heavy metal in droves, the die-hard fans remained as loyal as ever, eagerly anticipating the next evolution of the genre. Luckily, metal bands enjoyed increased freedom to pursue new and unconventional directions, owing to their absolution from the expectations and obligations inherent in big-time record contracts. Left to its own devices, many original and avant-garde interpretations (often the synthesis of multiple subgenres) exploded on to the scene: Symphonic (Kamelot – March of Mephisto), Folk(Amorphis – Sampo), Melodic Death (aka Gothenberg-style) (At the Gates – Slaughter of the Soul), Progressive Death (Opeth – Blackwater Park), Technical Death (Meshuggah – Bleed)…well, you get the idea. In testimony to metal’s increased global diffusion, the Nordic Countries of Northern Europe were the epicenter of this creative surge. Led by Sweden’s In Flames (Crawl Through Knives), Opeth (Ghost of Perdition) and Therion (Uthark Runa), Finland’s Nightwish (Bless the Child) and Children of Bodom(Everytime I Die), and Norway’s Dimmu Borgir (In Death’s Embrace), these acts pushed the conceptual boundaries of heavy metal to new extremes. The collective success of these underground acts reaffirmed heavy metal’s enduring appeal, driven by the loyalty of its rabid fan base. Perhaps, this success influenced the reunions of Iron Maiden (The Wicker Man), Judas Priest (Judas Rising), and even Black Sabbath (War Pigs), who all reconvened their classic lineups at various points during the 2000s. Nevertheless, heavy metal sustained itself as a phenomenon despite virtually no mainstream support.


MetalSo, there you have it. Four decades later, heavy metal thrives as a highly diverse, ever-evolving musical genre. That variety and growth are crucial to heavy metal’s enduring appeal. After all, in 1986 when Megadeth’s Dave Mustaine defiantly declared, “If there’s a new way, I’d be the first in line”  (Peace Sells), he meant it. Often mistaken for punk or hard rock, heavy metal can be a tricky subject open to much debate: to paraphrase Justice Potter Stewart, heavy metal is hard to define, but I know it when I hear it. While there are many nuanced and technical differences between the ever-expanding subgenres of metal, in the end, it’s all heavy metal. Based on the first forty years of heavy metal’s history, thankfully it shows no sign of slowing down of slowing down any time soon.

A Brief Lesson in Heavy Metal

MÖTLEY CRÜE bassist Nikki Sixx has dismissed the influx of negative professional critic reviews the band’s biopic “The Dirt” has received, insisting that the fans love the movie.

He tweeted on Friday: “The album is number #1.The fans are going crazy over #TheDirt. The critics hate it. @MotleyCrue @netflix WORLD FUCKING WIDE.”

“The Dirt” currently has an 86% audience score from 324 reviews on Rotten Tomatoes, an online review aggregation service that allows the public to score the movies alongside critics. It has a 42% critic score from 36 reviews on the same site.

Indiewire David Ehrlich called “The Dirt” “wonderfully bad” and compared it to last year’s QUEEN biopic “Bohemian Rhapsody”. “Bohemian Rhapsody” has a 61% critic score on Rotten Tomatoes but won four oscars.

“For all the unique details of their story (and their sound), QUEEN‘s big screen bow was so generic that it felt like Bryan Singer was trying to gaslight everyone into forgetting that ‘Walk Hard’ had already reduced this entire genre to a joke,” Ehrlich wrote. “And for all the legendary hedonism that defined their lives, MÖTLEY CRÜE‘s movie feels like it could have been made about any one of a zillion other bands. Hell, it could even have been made about QUEEN!”

Los Angeles Times called “The Dirt” “horribly timed,” “astoundingly tone deaf” and “as vapid and misogynistic as the band members and the book they wrote with author Neil Strauss.”

The Daily Beast said that “The Dirt” “spends almost two hours glamorizing shitty behavior, and then attempts to exonerate its stars with a few vague voiceovers about regret and rehabilitation.”

The Atlantic wrote: “The danger of a document like ‘The Dirt’ is in showing pigheadedness as not only fun and cool, but also elemental, inexplicable, and unstoppable.”

Deadline wrote that “The Dirt” has been “bleached pretty clean from its feral and self-admitted sordid source material,” citing frontman Vince Neil‘s drunken car crash that killed HANOI ROCKS drummer Razzle and the death of his daughter after a battle with cancer as “rare exceptions in this straight to MOR movie that has a limited emotional range outside of party time.”

The New York Times concurred, saying that screenwriters Rich Wilkes and Amanda Adelson had “sanded it down to a junior varsity ‘Bohemian Rhapsody’.”

Some media outlets were kinder in their assessments, with Decider writing: “Lower your expectations, throw caution, decorum and good taste to the wind, and file it under ‘guilty pleasure.'” The Guardian praised the performances of actors Douglas Booth (who plays Nikki Sixx), Iwan Rheon (who plays Mick Mars) and Daniel Webber (who plays Vince Neil), saying that they “possess similar abilities to navigate between charm and repulsion, all working together to create such a chummy group that their power as an ensemble elevates the material. Just like their real-life counterparts.”

“The Dirt” movie, which was helmed by “Jackass Presents: Bad Grandpa” director Jeff Tremaine, was picked up by Netflix after being previously developed at Focus Features and before that at Paramount.

“The Dirt Soundtrack” accompanies the movie and features a collection of MÖTLEY CRÜE classics that meaningfully underscore significant moments that shape the film. Exclusive to the film’s soundtrack, MÖTLEY CRÜE recorded four new songs, including the single “The Dirt (Est. 1981) (feat. Machine Gun Kelly)”, “Ride With The Devil” and “Crash And Burn”, plus a cover of Madonna‘s “Like A Virgin”.

MÖTLEY CRÜE Movie ‘The Dirt’ Is Hated By Critics, Loved By Fans, Says NIKKI SIXX

Today is the day! Motley Crue‘s long-awaited film adaption of their infamous The Dirt book is now on Netflix. The band recorded four new songs for the soundtrack, having previously released two of them (“The Dirt (Est. 1981)” and a cover of Madonna’s “Like a Virgin“) and now the remaining two tracks have surfaced.

“Ride With the Devil” (heard above) is a mid-tempo bluesy groover with lyrical nods to the band’s past (“Too Fast for Love”) as well as the present with the line “give me the dirt,” which is also the refrain on “The Dirt (Est. 1981).”

Below, you can hear “Crash and Burn,” another mid-tempo track with a similar arrangement. Much like “Ride With the Devil,” the verse relies on a rigid drum beat as the rest of the instrumentation steamrolls the energy into a shimmering chorus.

With the film’s release, fans have speculated as to whether Motley Crue will perform one-off shows, which would presumably not conflict with the cessation of touring agreement the four members signed as they embarked on their farewell tour, which concluded on Dec. 31, 2015.

Nikki Sixx wondered aloud if Crue had retired too soon as he sees contemporaries like Aerosmith and Metallica still hitting the road. “There will be no one-offs in our future,” the bassist told Rolling Stone, adding, “Maybe we’ll just get together and jam in Mick Mars’ front room.”


O lendário VENOM foi formado em 1979, em Newcastle na Inglaterra. Destacando-se o final da New Wave Of British Heavy Metal (NWOBHM), os dois primeiros álbuns da banda – “Welcome To Hell” (1981) e “Black Metal” (1982) – são considerados uma grande influência no Thrash Metal e no Metal Extremo em geral.
O segundo álbum da VENOM mostrou-se bastante influente para que seu título fosse usado como o nome do subgênero mais subversivo do metal extremo, o Black Metal. O trio clássico da banda, com Cronos, Mantas e Abaddon gravou mais dois álbuns de estúdio, “At War With Satan” (1984) e “Possessed” (1985), além do clássico álbum ao vivo, “Eine Kleine Nachtmusik” (1986). Frequentemente citados por bandas como Metallica, Behemoth, Celtic Frost e Mayhem como principais influências, eles são uma das bandas mais reverenciadas de sua geração. O VENOM ainda é liderado pelo vocalista/baixista Cronos, e permanece como atração principal em vários festivais ao redor todo o mundo, além de continuar lançando novas músicas.
No próximo dia 31 de Maio de 2019 será lançado o box “In Nomine Satanas”, via BMG – um box de LP’S de luxo que celebra o 40º aniversário da VENOM, e apresenta as gravações originais da Neat Records de sua estreia em 1981, “Welcome To Hell”, até “Eine Kleine Nachtmusik”, gravação ao vivo de sua apresentação mítica no Hammersmith Odeon em 1985. Todos os álbuns são remasterizados a partir das fitas originais com capas em relevo, pôsteres e encartes como suas primeiras edições. Eles também estão todos agora em vinil colorido. O box também inclui um livreto detalhando a história da banda, com novas entrevistas com os três membros, escritas pelo respeitado jornalista Dom Lawson.
De particular interesse para os fãs mais dedicados da VENOM será o álbum duplo “Sons Of Satan”, que inclui um tesouro de demos inéditas retirado diretamente dos cofres da banda, algumas dos quais são míticas entre os fãs que sabiam de sua existência, mas que nunca as ouviram. Entre as faixas estão as primeiras performances conhecidas da VENOM, capturadas onde a banda ensaiou em 1979 no Westgate Road Church Hall, no West End de Newcastle, e apresentando o vocalista original Clive “Jesus Christ” Archer nos vocais. Também estão incluídos as demos de 50 libras de 1980, capturadas no Impulse Studios, junto com outras demos de 1980 e as demos do Impulse Studio de 1983 para “At War With Satan”.
Pré-encomendas de “In Nomine Satanas” podem ser feitas AQUI.
Links Relacionados

Novo box-set da VENOM será lançado em Maio de 2019

Die New Yorker Death Metal Pioniere SUFFOCATION und das diabolische Death/Black Kommando BELPHEGOR haben sich für eine Co-Headline-Tour zusammengeschlossen, die im April 2019 über Europa hereinbrechen wird. Als Special Guest hat die Combo die Niederländer von GOD DETHRONED dabei und die Support Acts NORDJEVEL und DARKRISE. Die Tour startet am 4. April in Ludwigsburg und weitere Daten/Städte werden in Kürze bekannt gegeben.
Spread the word!

Europe Under Black Death Metal Fire Tour
04.04.              D         Ludwigsburg – Rockfabrik
05.04.              D         Essen – Turock
06.04.              DK       Aarhus – Royale Metalfest *
07.04.              D         Hamburg – Kulturpalast
09.04.              D         Osnabrück – Bastard Club
10.04.              NL        Rotterdam – Baroeg
11.04.              NL        Alkmaar – Victorie
13.04.              NL        Enschede – Metropool
15.04.              UK       London – The Underworld Camden
16.04.              LUX      Esch-Sur-Alzette – Kulturfabrik ***
17.04.              CH       Genf – L’Usine
18.04.              CH       Luzern – Schüür
19.04.              D         Mannheim – MS Connexion
20.04.              D         Zwickau – Seilerstrasse
21.04.              CZ        Brno – Melodka
23.04.              RO       Bucharest – Quantic Club
24.04.              RO       Cluj Napoca – Form Space
25.04.              CZ        Ostrava – Barrack Club
26.04.              HU       Budapest – Dürer Kert **
28.04.              AT       Graz – Xplosiv
30.04.              IT         Ciampino (Rm) – Orion Club
01.05.              IT         Paderno Dugnano (Mi) – Slaughter Club
* – ohne BELPHEGOR
** – ohne GOD DETHRONED 
*** – ohne NORDJEVEL
Für weitere Infos zu beiden Bands besucht ihre Websites:
www.suffocationofficial.com | www.facebook.com/suffocation
www.belphegor.at | www.facebook.com/belphegor

BELPHEGOR & SUFFOCATION verkünden “Europe Under Black Death Metal Fire”-Tour

1956, Elvis Presley’s single, ‘Heartbreak Hotel’ was released by RCA Records, who had just purchased Presley’s contract from Sun Records for $35,000. The song sold 300,000 copies in its first week and would eventually sell over a million, becoming Elvis’ first Gold record. 

1962, The Beatles appeared at Aintree Institute in Aintree, Liverpool. The group had played here many times before but this was their last performance at the venue. Brian Epstein became infuriated when the promoter paid The Beatles’ fee (£15 pounds) with handfuls of loose change. Epstein took this as an insult to the group, and made sure that The Beatles never played for that promoter (Brian Kelly) again. 

1970, John Lennon wrote, recorded and mixed his new single ‘Instant Karma!’  all in one day. It ranks as one of the fastest-released songs in pop music history, recorded at London’s Abbey Road Studios and arriving in stores only ten days later. 

1971, David Bowie arrived in the US for the first time; he couldn’t play live because of work permit restrictions, but attracted publicity when he wore a dress at a promotion event.

1972, American gospel singer Mahalia Jackson died in Chicago of heart failure and diabetes complications aged 60. Known as the “Queen of Gospel Music” she recorded over 30 albums and became one of the most influential gospel singers in the world and was heralded internationally as a singer and civil rights activist. 

1973, ‘Superstition’ the lead single from  Stevie Wonder’s Talking Book album became his second No.1 single in the US, 10 years after his first No.1 hit. Jeff Beck created the original drum beat while in the studio with Wonder. After writing the song, Wonder offered it to Beck to record, but at the insistence of Berry Gordy, Wonder himself recorded it first. Beck was instead offered ‘Cause We’ve Ended As Lovers’, which he recorded on his Blow by Blow album in 1975. 

1977, The Clash signed to CBS Records in the UK for £100,000. 

1979, Ian Dury And The Blockheads were at No.1 on the UK singles chart with ‘Hit Me With Your Rhythm Stick’, their only UK chart topper. 

1984, Madonna made her first appearance in the UK when she appeared on C4 TV music program The Tube performing ‘Holiday’. The show was broadcast live from the Hacienda Club in Manchester.

1990, Kylie Minogue had her third UK No.1 single with ‘Tears On My Pillow’, the song was originally a US hit for Little Anthony and The Imperials in 1958.

1996, Babylon Zoo started a five-week run at No.1 on the UK singles chart with ‘Spaceman’, the fastest selling single by a debut artist in the UK, (420,000 copies in 6 days). The song was used for a Levi Jeans TV commercial. The single also went to Number 1 in twenty-three other countries. 

1998, James Brown was charged with possession of marijuana and unlawful use of a firearm after police were called to his South Carolina home. Brown later clamed the drugs were used to help his ‘eyesight.’

2004, R&B singer Faith Evans and her husband were charged with possession of cocaine and marijuana after being arrested in Atlanta, Georgia. Police pulled them over for a suspected licence plate offence. 

2006, American singer, songwriter, and record producer Gene McFadden, best known as half of the Philly soul team McFadden & Whitehead, died of cancer at the age of 56. The duo who were discovered by Otis Redding, who acted as their manager had the 1979 hit ‘Ain’t No Stoppin’ Us Now’, which sold more than 8 million copies and was nominated for a Grammy Award. 

2009, Road Chef, the Watford Gap UK Motorway services operator, paid £1,000 at an auction for a collection of celebrity signatures, which were collected by former employee, Beatrice England. The book included signatures of Sir Paul McCartney, Sir Mick Jagger, Keith Richards, Brian Jones,  The Eagles and Dusty Springfield. The Blue Boar services as it was once known received so many famous guests in its 50-year history that Jimi Hendrix mistook it for a London nightclub as it was mentioned so often by his contemporaries. 

2014, American folk singer and activist Pete Seegar died at the age of 94. He had a string of hit records during the early 1950s as a member of the Weavers, most notably their recording of Lead Belly’s ‘Goodnight, Irene’, which topped the charts for 13 weeks in 1950. Members of the Weavers were blacklisted during the McCarthy Era. In the 1960s, he re-emerged on the public scene as a prominent singer of protest music in support of international disarmament, civil rights, counterculture and environmental causes.

2015, Tom Petty and Jeff Lynne were given a song writing credit on Sam Smith’s hit ‘Stay With Me’, because of the similarities to his 1989 track ‘I Won’t Back Down’. ‘Stay With Me’ had been nominated for three Grammys, including song of the year – which honours the writers of the track. Petty’s publisher had contacted Smiths publisher who made an out of court settlement.

Born On This Day

1918, Born on this day, Elmore James, US blues guitarist, singer, known as the King of the Slide Guitar. James wrote ‘Shake Your Money Maker’, which was covered by Fleetwood Mac in 1968. Influenced Jimi Hendrix, B.B. King and Keith Richards. James died 24th May 1963. 

1919, Born on this day, David Seville, The Chipmunks who had the 1958 US No.1 single ‘The Chipmunk Song’, and the 1959 UK No.11 single ‘Ragtime Cowboy Joe’. Seville died on 16th January 1972. 

1930, Born on this day, Bobby Bland, R&B singer,who had the 1963 US R&B No.1 single ‘That’s The Way Love Is’. Bland was inducted into the Blues Hall of Fame in 1981, the Rock and Roll Hall of Fame in 1992, and received the Grammy Lifetime Achievement Award in 1997. He died on 23rd June 2013 at his home in Memphis. 

1944, Born on this day, Nick Mason: drums, percussion and tape effects, Pink Floyd. Nick is the only member of the band to play on every album since the band’s formation in 1965. He studied architecture at London’s Regent Street Polytechnic, where he teamed up with fellow students Roger Waters, Rado ‘Bob’ Klose and Richard Wright in 1964 to form Pink Floyd’s predecessor, Sigma 6. Mason is a keen auto racing enthusiast and has taken part in many racing events such as the French 24 Heures du Mans race in Le Mans.

1944, Born on this day, Kevin Coyne, singer, songwriter, film-maker, and a writer of lyrics, stories and poems. In the mid-1970s, prior to the formation of The Police, Coyne’s band included guitarist Andy Summers. Coyne died on 2nd December 2004.

1946, Born on this day, Nedra Talley American singer with the all girl group The Ronettes who had five US chart toppers including ‘Be My Baby’, ‘Baby, I Love You’, ‘(The Best Part Of) Breakin’ Up’, and ‘Walking in the Rain.’

1948, Born on this day, Kim Gardner from English group Ashton Gardner & Dyke who had the 1971 UK No.3 single ‘The Resurrection Shuffle’. Gardner died on 24/10/01,

1951, Born on this day, Brian Downey, Irish drummer and founding member of Thin Lizzy, who had the 1973 UK No.6 single ‘Whisky In The Jar’ and hits with ‘Jailbreak’ and ‘The Boys Are Back in Town’.

1951, Born on this day, Seth Justman, keyboards, vocals with American rock band The J Geils Band, who had the 1982 US No.1 & UK No.3 single ‘Centerfold’ which was taken from their US No.1 1981 album Freeze Frame. 

1957, Born on this day, Janick Robert Gers English guitarist with English heavy metal band Iron Maiden, who had the 1982 UK No.1 album The Number Of The Beast, and the 1991 UK No.1 single ‘Bring Your Daughter …To The Slaughter’. Iron Maiden have sold over 100 million copies of their albums worldwide.

1961, Born on this day, Gillian Gilbert, keyboards with The Inadequates, and New Order who had the 1983 UK No.9 single ‘Blue Monday’, Also a member of The Other Two who had the 1991 UK hit single ‘Tasty Fish’.

1961, Born on this day, Martin Deguille, singer with British group Sigue Sigue Sputnik who had the 1986 UK No.3 single ‘Love Missile F1-11’. 

1961, Born on this day, Margo Timmins singer with Canadian alternative country/blues/folk rock band, Cowboy Junkies. 

1964, Born on this day, Migi Drummond from English pop group Curiosity Killed The Cat who had the 1989 UK No.14 single ‘Name And Number’ and the UK No.1 album Keep Your Distance. 

1968, Born on this day, Adrian Thawes, (Tricky), musician and actor who had the 1996 UK No.10 single ‘Milk’. His 1995 debut album Maxinquaye was nominated for the Mercury Prize and voted Album of the Year by NME Magazine. 

1968, Born on this day, Mike Patton, singer and multi-instrumentalist with American rock band Faith No More, who had the 1993 UK No.3 and US No.4 single ‘I’m Easy’. They had the best-selling albums The Real Thing (1989) and Angel Dust (1992).

1972, Born on this day, Mark Owen singer with Take That who had the 1995 UK No.1 single ‘Back For Good’. The group’s 1993 UK No.1 album ‘Everything Changes spent 78 weeks on the UK chart. Had the solo 1996 UK No.3 single ‘Child’. Was the winner of UK TV show Celebrity Big Brother in 2002. Re-formed Take That without Robbie Williams in 2006 for a sold-out European tour. Topped the UK singles and album charts simultaneously for the first time in their career when the single ‘Patience’ and album ‘Beautiful World’ both reached No.1 in Dec 2006.

This Day in Music January 27