Meet the new Metallica. Not a million miles away from the old Metallica – in the greatest possible way.That’s our first reaction to Lux Æterna, the first single from Metallica’s upcoming 11th album, 72 Seasons, which dropped earlier today with absolutely no advance warning. Surprised? Yep, us too.
I never saw them though I do remember them coming through town. I thank my old buddy in the States (Tim Chatham) for having the wisdom to sit me down in his parent’s place and turn me on to one of the Greatest Rock bands of all time!
“I had a hell of a battle at the Bath festival. I’d researched where the stage would be and when the sun would set behind it, and Zeppelin had to go on dead on eight o’clock. It was running late, and other people wanted to go on, but I said: ‘No, Zeppelin are going on at eight o’clock, and that’s it.’“What happened was that they went on in daylight, so you get that ‘broad’ view, then as the sun set and it got darker we could bring the lights up so that it was the focal point.“I’m not sure that Robert’s idea worked, though – throwing the tambourines out to the audience. They were bouncing on Hells Angels’ heads! But they were alright, because I’d made mates with them.
Gene is a big story-teller. Of course they use backing tracks. They sucked when they started and it only got worse. The backing tracks at least make it possible for them to continue.
“I have a problem when you charge $100 to see a live show and the artist uses backing tracks,” Simmons told Australia’s News.com the same year. “It’s like the ingredients in food – if the first ingredient on the label is sugar, that’s at least honest.”It should be on every ticket – you’re paying $100, 30 to 50 percent of the show is [on] backing tracks, and they’ll sing sometimes, sometimes they’ll lip sync. At least be honest. It’s not about backing tracks; it’s about dishonesty.”
I have followed Jimmy on Instagram. I really like all the new Robert Plant records. He is a great songwriter. Jimmy is a great guitar player. They were lucky they met each other but they also had the ability to take things further than common talent.
There was me and the engineer Keith Harwood, and whoever woke first would get the other up and we’d get straight into the studio and do the guitar overlays. It was the same with the mixing. Jagger was staying in the same hotel and I went up to see him to say thanks for letting us use the studio in their downtime. He said, “What have you done?” I said “I’ve done an album, do you want to hear some?” I put on Nobody’s Fault But Mine, which he sort of knew as a blues song and he was quite startled by it.Although doing an album in three weeks was an exception, I never worked slowly, nor did anyone else. We were all very fast and to the point. If we were recording something and it wasn’t happening we would stop that number and do something else, there was no point labouring it. That’s something I brought with me from the session days – you know when the spark’s there and you know when it’s gone and there’s no point proceeding, especially if you have other numbers to do.
He shared on Facebook: “I love Bob Dylan’s new book The Philosophy of Modern Song. But I have one little bone to pick with the author when he writes ‘Elvis Costello and the Attractions were a better band than any of their contemporaries. Light years better.’ With all due respect to the Attractions and to drummer Pete Thomas in particular, I’d like to say to Bob something he once said to a buddy of mine. ‘Suck a dick.'”
When questioned by host Rogan whether relevancy matters to him as an artist, the singer replies: “You can’t [think about that], because then you’ll be desperate and get plastic surgery and look an alien trying to insert yourself into some stupid fucking thing. It turns to desperation really quickly, so just maintain your art.”
It begins with interviewer/narrator André Maurice wandering through Portobello Road market, the epitome of a French intellectual in his immaculate tie and rain mac. It feels like we might be watching a Jean-Luc Godard film, an impression reinforced by a sudden jump-cut to a pirate ship floating down the Thames towards Tower Bridge.
But then the camera pulls back onto another boat which contains tabla player Sam Gopal and his band miming to the wistful Sky Is Burning (from 2:25) – and yes, that’s a pre-Hawkwind Lemmy (or Ian Willis as he was known then) singing and playing guitar, and already looking every inch the rock god he would become. His lilting voice is rather lovely here, and clearly pastoral psych’s loss.
Full length film: https://www.youtube.com/watch?v=0SG3Q_EJOeQ