If I only could deceive you
Forgetting the game
Every time I try to leave you
You laugh just the same

'Cause my wheels never touch the road
And the jumble of lies we told
Just returns to my back to weigh me down...

We lay cards upon the table
The backs of our hands
And I swear I like your people
The boys in the band

Reminiscences gone astray
Coming back to enjoy the fray
In a tangle of night and daylight sounds...

All completeness in the morning
Asleep on your side
I'll be waking up the crewmen
Banana-boat ride

She responds like a limousine
Brought alive on the silent screen
To the shuddering breath of yesterday...

There's the succour of the needy
Incredible scenes
I'll believe you in the future
Your life and death dreams

As the cavalry of despair
Takes a stand in the lady's hair
For the favour of making sweet sixteen...

You make my life and times
A book of bluesy Saturdays
And I have to chose...

Jonathon
The tarot is fate, said the Gypsy Queen
And she beckoned me, to glimpse my future she'd seen

Gypsy to Jonathon
She said, do you see what I see?, be careful to choose
Be careful what you wish for, cause it may come true
When I lay the card down will it turn up the fool?
Will it turn up sorrow? If it does then you lose

Jonathon to the Gypsy
I'm the lost boy can you help me
Yeah, I'm the lost boy can you help me

Jonathon
Then the illusion was real, a crimson idol I saw
But the higher he'd fly, then the further he'd fall

Jonathon to the Gypsy
I'm the lost boy can you help me
Yeah, I'm the lost boy can you help me

Jonathon to the Gypsy
I just wanna be, I just wanna be, I just wanna be
The crimson Idol of a million
I just wanna be, I just wanna be, I just wanna be
The crimson Idol of a million eyes
Of a million

[333x500]
Andi DerisAndi, you have been in the band for 16 years now. Looking back, can you divide these years in the life of the band from your own point of view into several key periods and highlight some ups and downs, some positive and negative moments?

When I joined Helloween and when we started to work on the "Master of The Rings"-album the band's position wasn't the best. But we managed to get over it and to deliver many very good selling albums in a row and we also managed to gain a good reputation as a concert act again.
The highlights? Definitely the unbelievable world wide sales of the "The Time Of The Oath"-album and the of course the big resurrection of the band with the "Keeper of The Seven Keys - The Legacy"- and the "Gambling With The Devil"-albums. And also the two world tours for those albums were pretty unbelievable. As a songwriter to have a very successful single with "If I Could Fly" was nice also. Some negative moments? Some parts of the "Rabbit Don't Come Easy"-tour weren't that nice. Just because the relationship to our former management was coming to an end.

Andi, who was your ideal as singer when you start to sing and search own style? Did you copy somebody? Which singers affected you?

From the very beginning I wanted to be myself. I never wanted to copy anybody or "sound like"… But on the other hand: I always liked and pretty sure always will like people like Rob Halford or Paul Stanley. But certain influences don't hurt.

Which song by Helloween from period 1994-2007 was most difficult sing? And do you remember which song by Pink Cream was difficult sing?

Hmmmmmm. I never had big difficulties in singing my songs. And even the songs from the Kiske- or Hansen-era are Ok to sing for me: if I do it my own way. But talking about Pink Cream 69… When I listen to the first Pink Cream 69-album nowadays I am wondering how high I used to sing back in the day : Songs like "Take Those Tears", "Sugar For Love" or "Welcome The Night" would be pretty difficult to sing nowadays - in their original versions.

'Unarmed' is very good, but why didn't you remake any song of Hansen's vocal period? Will we hear the remake of 'Why'? :)

It just didn't fit the album. "Unarmed" has a certain mood and not all the Helloween-songs from all the different eras were fitting. And talking about "Why"… We actually recorded a version of "Why" for "Unarmed". But for the moment it is just a bonus track for the official download version if the album.

Did the band have any ideas to invite ex-members of Helloween take part in recording of Anniversary album?

We were thinking about Kai playing a guest solo on the record but we just couldn't get hold of him. He is always way too busy :-)

Did you expect that Helloween's last effort - "Unarmed - 25th Anniversary Best Of" - will arise so hectic discussions, almost "love-hate" opinions among fans? Or you were used to think that most of Helloween supporters will accept this release loyally? What is your opinion about negative reaction of the fans towards "Unarmed"?

To be honest: I've always liked something to be really good or really bad. If something is just "OK": that for me sounds like: forget about it! We knew already in the studio that some parts of the record won't be received positively by the public. But hey: you are making your music not only for the people out there. You also should like it yourself!

Was it someone's idea to rearrange Helloween classics completely, or it was all band's members decision?

It was the band's and our management's idea.

Why you decided to make videoclip exactly for "Dr. Stein"? Is this new video relevant old clip for this song?

The new "Dr. Stein" - version is very cool. The original version was the biggest single Helloween ever had. And there wasn't a video for the original song. So the decision was easy.

"Gambling With The Devil" did not contain ballads. Did you plan it or make it accidentally? Will the new album contain a ballad?

That wasn't a plan. It just happened. In Helloween we never make "plans" in creativity. At this very moment I cannot say if there will be a ballad on our forthcoming studio album. Let's see!

Will a new album Helloween continue the previous three? Do you have any plans to make "Master of the Ring part II" or "Dark Ride part II" in the future - or Helloween will make something absolutely new?

I think it will just be a logical step after "Keeper Of The Seven Keys - The Legacy" and "Gambling Of The Devil". With all the elements people like about the band!

Who will be a producer of the new album? Are you satisfied with the sound on the last two albums?

Charlie Bauerfeind. Of course! He's just perfect for the band!

Do you plan to go in the next tour with Gamma Ray or Axxis or Pink Cream Читать далее...

uroki-online.com/music/garmoshka/

Это цитата сообщения Queen_de_la_reanimaR Оригинальное сообщение

metalgypsy.com/Wasp/forums/index.php

[432x432]
Norway’s FVN.no conducted an interview we did with W.A.S.P. mainman Blackie Lawless before the band’s 10/9 performance in Kristiansand. Blackie talks about his faith, why he doesn’t “do the blood” anymore and why he will never perform the song “Animal (Fuck Like A Beast)” again. A couple of excerpts follow.

On having a pretty basic live show nowadays:

Blackie: “What you’re saying is: Are you doing the blood anymore? No, I’m not doing it. I don’t need that anymore, because when you’re trying to get a message across to people, the image of that early show spoke so loudly, people were listening with their eyes and not their ears. We did what we thought was abstract art and we were trying to make social comment within that, and no one was getting the social comment; they thought, ‘Oh, it’s a shock-rock band.’ We’ve never considered ourselves a shock-rock band, and to be honest, even to this day, I resent that; I don’t like being considered that. But I understand that the eyes are the dominant sense, and so if you’re going to try and get your message across, sometimes you have to simplify it to be able to do that.”

On not playing “Animal (Fuck Like A Beast)” live anymore:

Blackie: “We haven’t done that song for several years. And it’s totally because of my religious faith, and it’s something that I don’t want to do anymore, and I will never play that song again.

“What can I do to be a positive influence? So I’m looking at what I’m doing and I’m trying to create the best example that I can. I don’t want 13-year-olds going around singing that song. If that’s something they wanna do later in their life, that’s their business. But, like I said, it’s a question of faith and the religious conviction that I have.”

On whether it means that he’s not so proud of all the things he’s done in his past:

Blackie: “Well, that would be one of them, but… You have to understand that I believe that I’ve been put here on this Earth to do a very specific thing. This album, ‘Babylon’, that we’re doing now really talks about what’s going on with the Book Of Revelation and the bible.

“Someone asked me the other day. They said, ‘Are you a rock and roll preacher now?’ I said, ‘No. But I am a messenger.’ And that’s what my job is. So everything I did up to this point has led me to where I am now.”

“Babylon”, the new album from W.A.S.P., entered the U.K. “Rock Albums” chart at position No. 15.

“Babylon” was released on October 12 through Global Music (via Demolition Records). The CD is themed around biblical visions of “The Four Horseman of the Apocalypse,” and is described in a press release as “a metal masterpiece that will make fans both old and new craving for more.”

The track listing for the album is as follows:

01. Crazy
02. Live To Die Another Day
03. Babylon’s Burning
04. Burn
05. Into The Fire
06. Thunder Red
07. Seas Of Fire
08. Godless Run
09. Promised Land

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Will I be alone this morning
Will I need my friends
Something just to ease away the pain
And now I never see the loneliness
Behind my face
I am just a prisoner to my faith

If I could only stand and stare in the mirror would I see
One fallen hero with a face like me
And if I scream, could anybody hear me
If I smash the silence, you'll see what fame has done to me

Kiss away the pain and leave me lonely
I'll never know if love's a lie
Ooh - being crazy in paradise is easy
Can you see the prisoners in my eyes
Where is the love to shelter me
Give me love, love set me free
Where is the love, to shelter me
Only love, love set me free
Set me free

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Это цитата сообщения Veronika_Blog Оригинальное сообщение

Карандаш против камеры

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Брюс Дикинсон получил почётную степень доктора музыки в Колледже королевы Марии

Брюс Дикинсон получил почётную степень доктора музыки в Колледже королевы Марии
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В субботу вечером

Предлагаю отвлечься от тяжелых мыслей и немного почитать.
Например, отрывок отрывок из романа Next Джеймса Хайнса. В 2010 году за это произведение автор получил премию американского интернет-журнала Salon за лучшее описание секса в литературе. Думаю, что данный текст из, в общем-то, знакомых всем слов будет интересен и поднимет настроение.
See you!
:)
___________________


The porch railing creaks under their weight, and even drunk and excited Kevin wonders about the farmhouse's craftsmanship and hopes the Philosopher's Daughter's father is as good a handyman as he is a philosopher. He worries about toppling backward into the bushes, he worries about splinters, but the beer and the anxiety are making him last longer, otherwise he might have come the instant he was inside her. Then Lynda murmurs "Wait" right in his ear, and as he clutches her waist under her dress she unbends first one leg and then the other over the railing, settling tightly against him, taking him in even deeper. She tightens her calves against the railing and squeezes with her thighs, and he groans, because he's deeper inside this girl than he's ever been inside any girl before, and he presses his open mouth against the long, salty curve of her neck. He's inhaling her humidity, she's panting like an animal just above the top of his head. They can't move much -- if she thrusts too hard against him she'll topple them into the bushes -- but the song has finished with words and now it's just a driving sax, and they rock together to the beat, her sweat dripping into the dress bunched at her waist, her hands kneading his back, his face pressed between her salty breasts, her heart thumping against his lips. He can't move much, he can hardly breathe, but he can't stop now, and he hooks his chin over her shoulder, her hair scratching his nose and filling his mouth, and through it he can see the red window where the music's pouring out, he can see pumping limbs and torsos in the red light, hair swinging, heads shaking. There's someone in the window, he can't make out who in the darkness, just a silhouette against the red glow, catching a breeze through the screen, breathing in something other than sweat and beer and marijuana. Kevin wants it to be her, and he thinks, look at me, but he can't be sure, it's just a shape in the window, it might not be her, it might be someone else. Now the music is circling and building, just the rhythm section and an insinuating solo guitar, and as Lynda rocks against him, he surges with each bar of the solo, almost cresting but not quite, and he thinks, I want you to see me. He hopes this lasts forever, he hopes that it doesn't and that he comes like a waterfall, but either way he wants her to know, he wants her to see him. His heart hammers, his breath rasps through Lynda's hair. Turn around, he wills the silhouette in the window, this could have been us.

(The cab idles impatiently at the corner of Fifth and Congress. The cabbie breathes heavily through his nose; he has the phone in hand again, and he's staring at the little screen, as if willing it to ring.)

Now the guitar and the saxophone are trading off, leading each other on, and Lynda starts thrusting harder against him, faster than the beat, gasping like a runner. Kevin tries to grip her tighter, but she's so slippery under her dress and she's moving so urgently it's all he can do to keep them both on the railing. His thighs ache and his back hurts, and under his hands he can feel every muscle in her body pulling tighter. All he can do is hold on tight and flex his buttocks. Now her gasps are highpitched and squeaky and he hopes they finish before the song does because he doesn't want her to come out loud in the gap between the songs when everybody could hear them. Only her, he thinks, hanging on to Lynda for dear life, I only want her to know. Lynda digs her nails into the back of his neck, and he sinks his teeth into the taut curve of her throat to keep from groaning aloud. Her sweat pours over his fingers, and now she's whimpering rhythmically, chirping like a bird, and through the window the guitar and the saxophone are winding tightly round and round each other, and Kevin thinks, Turn around, just about to come himself, look this way.

(As the cab turns onto Congress, the cell phone sings, and the cabbie exclaims aloud, inclining his head toward the red phone like a tiny heart in his palm. There's a torrent of speech, both ends of the conversation talking excitedly over each other. The cabbie sounds like he's about to cry.)

Lynda sucks in her breath and her cunt seizes tightly around Kevin's cock and Kevin feels it all the way up his spine and down to his toes, blood pounding in his temples, his heart squeezing tighter than a fist, as if it will never relax again. He clenches his arms around her back, digging his fingers into her; he groans wordlessly into the salty flesh of her shoulder. He can feel his balls Читать далее...

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