Noin WH metal-rulesissa 9 vuotta sitten:anselmo wrote:Itseänikin kiinnostaisi että kuinkas 90-luvulla tai esim.
Eat the Heat levyllä ja että ovatko laulumelodiat Udon käsialaa vai kulkeneet samassa paketissa tektien kanssa?
Mielenkiintoista juttua, kuten yleensä Syrjälän haastatteluissa läpi vuosien, mm. Predatorin ajoista (pressikuva '96 on kyllä huikea, jos scrollaatte sen esiin! ); mie en ole koskaan ajatellutkaan että Baltesin vokaalit olisivat noita 'scratch'-demosellaisia, vaan ihan hyvällä olen ottanut esim. Crossroadsissa ne. Ehkä alunperin kuultuani ihmetellyt, että onko basistilla suuruudenhulluutta tullut hypätä Udon reviirille, mutta tuon myötä selvisi että haukuttu väärää puuta...WOLF: PREDATOR was just another attempt to make a record that would fit in the times. What we did on that record – we already knew that was going to be our last record, honestly. It was a very unique situation because Udo was already on the way out, and we knew it, and he knew it. He came with a sort of attitude, like “Alright, I?m gonna sing these songs…,” but he wasn?t even trying at all. He was against the songs, he was against everything, he didn’t want to be there, he didn’t try, so his vocal performance was like so bad that we decided to go ahead and use Peter’s scratch vocals. One thing you have to realize is that Udo never been part of the song writing process, even in the 80s. The creative team was Peter, myself, and Stefan Kauffman. We always finished the songs before he ever entered the studio.
METAL-RULES: Well if Udo never did too much writing for the band then who did wrote the lyrics for PREDATOR and the rest of the albums?
WOLF: Deaffy, my wife Gaby. All of them. In the 90s she kind of phased out from that, and we got some other guy in there, an English guy who kind of helped us with the lyrics. But everything was always done to the point, to the melody, to the note – everything was done before Udo ever even showed up. We always worked the same way. We did it the same way on PREDATOR. Peter and myself, we wrote all the songs, and then Udo’s performance was so bad that we kind of kept some of Peter’s original vocals, which in turn upset Udo so much that he left the band. Udo was so offended by that. Our point was that “Hey, your original version was so terrible that we couldn’t leave it.”
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Uusi levy kyllä jatkaa rokkaamista, hitto miten kovia nuo 1-6 rallit ovat! Dying Breedin loppufiilistelyt, tai Fall Of The Empire ovat samanlaista slaavimelodiaa ja -kööriä pullollaan, kuin Russian Roulette -favoriitillani. Dark Side Of My Heart on muuten vain ehkä levyn paras
Sitten vähän palataan kuolevaisiksi kun 200 Years ja Bloodbath Mastermind ovat muita tylsempiä, mutta loppupäätä paikataan taas From The Ashes We Risen (yritäpä olla ilmarumpaloimatta komppia!) ja The Cursen kera. Final Journey ei ole sekään vielä iskenyt, mutta 8/11 noin hyvää (ihan sama mitkä niistä tulevat livenä ensi pe, kaikki kelpaa) = vahva 8½ tai 9- arvosanaksi. Thrown To The Wolves on japseihin taas ansiosta heitetty, ei kuuluisi levylle.
edit: Tuolla samassa oli siitä 4/5 jäsenisestä bändistä myös, mihin Michi viittasi >
METAL-RULES: Do you think that Accept needs two guitars on stage?
WOLF: I don’t think it needs it, but see, what we wanted to do on this show, well we thought, “Hell this might be the last time people are ever gonna see Accept live ever, so what would people like to see most?” We always had this sort of twin guitar thing. When we were a four-piece band, I had all these people come up to me and say, “I like the twin guitar thing.” I personally like the four-piece band much better, but it’s always this twin guitar thing, nagging away. So we thought, “Well, if we’re gonna do it we might as well do it as a twin guitar thing,” and get another guitar player in the band. Because it’s closer to the 80s. We wanted to sort of represent the 80s on this tour. We?re kind of trying to relive the 80s as much as we can and go back to those days. And also from the songs we play – it’s everything from ’82 to ’86.