3 January 2001
BY THE GODS! Through cyberspace and over transatlantic telephone
lines we meet again! How are you, David? Have you stopped counting
the interviews that you gave during the last couple of days / weeks?
Iīm okay. Yes, itīs been many, but itīs been good.
no Frank Frazetta cover paintings for the albums... This is a pity.
Naw, Iīm just kidding. Well, but frankly, the cover design is really
doing justice to the progressive elements of the epic compositions.
No place for nostalgic artwork. But tell me, whoīs this guy on the
cover of "HYMNS TO VICTORY"? He looks like Apollon, who must be
one of your favourites from Olympus...
Yes, that is Apollo, whom the Germans call Apollon, you are correct.
Apollo is an interesting character because he is a god with two
aspects. One is the musical, heīs got the lyre or the harp in his
hands. The other, he is the archer of the gods . Heīs a god of war
as well as a god that likes music and beautiful things. Heīs got
the bloodstained barbaric nature and heīs got the romantic nature
as well. So I think he embodies the spirit of the barbaric romantic
ideology quite well. Thatīs why he was chosen.
How do you feel, now that two new CDs are about to be released
in a couple of days? Are you satisfied with the finished work (I
hope so, because I am!) or would you have changed minor things?
I am as satisfied as I ever am with the recording. Thereīs always
a point at the end of the record Iīm always like 'I need another
week, I need another hour, I need another month' - whatever. You
know I wanna spend more time with them. Thereīs always something
I want to change or make better. But then I move away from it. And
then itīs okay, Iīm like 'It is what it is' and Iīm happy with it
and I listen to it and just enjoy it.
I would say that probably out of any the records that I have done
and completed in this manner, I think I was the least stressed out
about letting go of these records. I was thinking 'Yeah, itīs okay,
itīs as good as I can get it under these conditions, so let it be
done. I can walk away from it'. Which I was a little worried about,
because most of the time Iīm always stressing and wanting to go
back to remaster and change things. I did not really have too much
of that feeling this time. Probably because I did have enough time
to actually devote to it in the first place. So I didnīt have to
agonize so much at the end of the day. Iīm pretty satisfied, to
answer your question ;-)
"HYMNS TO VICTORY" is an anthology of VIRGIN STEELE albums spanning
the period from "NOBLE SAVAGE" (1985) to "THE HOUSE OF ATREUS -
ACT II" (2000). But I miss material from "LIFE AMONG THE RUINS"
on it. There was a voting by the fans for the tracklist at the record
companyīs website. Did so few people vote for tracks from that album?
Yeah, that album!!! I was going to put some stuff on there. I was
going to put on "I dress in black", "Crown of thorns" or "Jet black".
But to the question again, if the record was a double album I probably
would have put something from there on, of course.
I like that record a great deal. There was a voting. (I would say,)
I donīt know where the people came from who voted, but I would say
that record is not a big favorite in Germany. But in places like
Scandinavia, Italy, Spain and other countries, people like it very
much, so I donīt think that Germany is indicative of everyone's
feelings of that record, because a lot of people in other countries
do really like that record.
Itīs weird, that some records take off in certain places. (I guess
the mentality or the expectations of the people.) You know, I think
most people in Germany were expecting "NOBLE SAVAGE - PART FIVE"
or something like that. Most people turned on to VIRGIN STEELE with
that album - but you know we did make new fans out of that "RUINS"
album! - Some folks really like that record, whether theyīre from
Germany or where ever theyīre from. But people who were expecting
a "Noble savage" or "Burning of Rome" were disappointed for some
For me, I never expect anything from a band I enjoy. I expect a
band to do what they wanna do and I just take each album for what
it is and not expect someone to repeat what theyīve done before.
That kind of mentality spices the scene a little bit! To think that
they can change and they can grow!
A lot of bands keep making the same record over and over again.
Iīm not gonna be pigeonholed in any shape or form. I do what I like
to do and that record was product of its time. Those were the songs
at the moment and it wasnīt even supposed to really be a record.
It just happened that we recorded a bunch of tracks. I sent some
stuff around and I got a deal. And there it was, thatīs the record.
A typical picture of life at that time.
Thirteen tracks picked from the recordings of seven albums, the
album kicks off with a track from the brilliant epic "THE HOUSE
OF ATREUS". But the main emphasis - if thereīs really one - with
three tracks lies on the album "THE MARRIAGE OF HEAVEN AND HELL
- PART II" (1996). My interpretation or your intention?
Probably both. Yeah, it is a little heavy in the representation
of the second one. But for some reason that particular record has
definitely struck a heavy chord for a lot of people. I think itīs
a really strong record. Also there were songs on that record that
I thought I could fool with a little bit and make sound better.
Thatīs why Iīd chosen them. However, I was a little concerned that
itīs so heavily weighted in that record. But at the end of the day
I said 'What are we gonna do now? Pull off something else and do
something else?' It was too late in the game to re-think at that
point, and I just went with what I had, so there it is.
discovered the band through a Heavy Metal encyclopedia which listed
"NOBLE SAVAGE" as a heavy metal classic. Soon on this I started
to search for that album on record fairs and in second hand stores.
It was shortly before "THE MARRIAGE OF HEAVEN AND HELL -PART I"
(1995) was being released, when I found a copy of the album. Later
I finally found the first two albums too. But it wasnīt easy for
those two vinyls to win my liking since "NOBLE SAVAGE" was written,
performed and produced on a much higher level than the bandīs debut
and "GUARDIANS OF THE FLAME" (1983). So - to me - "NOBLE SAVAGE"
marks the actual beginning of what VIRGIN STEELE is known for these
days. Looking back now I would call "LIFE AMONG THE RUINS" (1993)
a first sign of life after a period of five years and sort of a
'prelude' to the bandīs second coming. Do you agree with me?
I think "NOBLE SAVAGE" was really the first proper album and I think
of that as the first album. The first two records were really just
sketches, if you will. If I have to use an analogy, thatīs the "Mona
Lisa" and the first two records are fingerpaintings, you know. (laughs)
A big difference.
Yeah, then of course we did our thing and we got to a certain level.
And we had a few problems between "AGE OF CONSENT" and "LIFE AMONG
THE RUINS". It wasnīt really five years. We werenīt absent for five
years. It seems like that if it comes to a recorded output. But
even that wasnīt really five years, īcause "AGE OF CONSENT" came
out in 1988 and "LIFE AMONG THE RUINS" was begun in like ī92, I
think we were recording stuff. Released in late ī92 or early ī93,
it wasnīt quite so long.
But we werenīt inactive!!!!!!! We were doing gigs, we were playing
live, we were doing shows and writing material obviously. And I
was also studying a great deal, I went back to University. I wanted
to stay doing music and stay doing VIRGIN STEELE and I just wanted
to kind of go back to the well, so to speak, the well of knowledge
and immerse myself in musical culture. So I got my Bachelorsīs Degree
in harmony/theory and composition and such. That was a really good
time for me. We never stopped, just kind of eased off a little bit,
so we had room to grow. Youīve gotta like let the ground lie fallow
for awhile for the new shoots to grow up, the new crops to grow.
The 'second coming' - ah, I think we kicked it off with "LIFE AMONG
THE RUINS" as you mentioned and then "MARRIAGE... - I" put us really
totally back on the map.
From "THE MARRIAGE OF HEAVEN AND HELL -PART I" on you use to
release one album a year! If they were all released on vinyl they
would have been double albums! Plus, according to a guy from Noise
records, your record company, you use to write enough songs to record
at least two albums a year!! Whatīs your magic(k) fountain of inspiration?
Ah - life, man! Experience. I dig living. I live each day, Iīm aware
each day. Iīm very much awake and in the moment. And I experience,
I observe and I participate and I think about all these things and
it comes out in song form. When I work, I work in a very focused
manner. And for however long I work for, itīs really concentrated
and itīs very productive always. Thereīs always songs coming. I
donīt believe in hiding them away, holding them for a later date.
Iīm like 'Iīm here now, letīs get it going, letīs do it now!', you
know, Iīm always gonna write songs, so Iīm not afraid to bring a
lot of music forth on one record. Some bands hold everything, theyīre
like 'Letīs hold it back for the next record'. Maybe they think
they wonīt write so much, or what ever. But I never think like that.
I think, Iīm gonna always write songs. Not a problem. Iīm always
gonna have ideas, Iīm always thinking about music. Iīm totally immersed
in sounds, in lyrics, in everything. So, itīs really just sitting
down and finding the time to actually do it, and making an output
of more stuff, comes pretty easily.
According to the liner notes there are re-mastered versions
and alternate mixes on the album. Tell me the difference between
Well, 'remastered' is just taking the initial two-track stereo mix
and putting it through various mastering pieces of equipment, which
- to put it in very simple terms - is like going through your stereo
and boosting the treble or the bass or the mid-range frequencies.
So, by altering the equalization curve you can bring out certain
instruments, certain things, that lie within their frequency. You
can bring up the snare-drum or you can bring up the guitar. Itīs
not like mixing. Re-mixing is taking the actual multi-track, and
then you have all the faders up on the board and all the tracks
'here is the guitar, here is the drum-kit, here is the vocal' and
you can actually physically bring things up or bring things down,
add effects to things or whatever.
Remastering has a limit to what you can do, because the thing is,
all the various multi tracks have already been mixed down to two
tracks, you know, so thereīs only so much you can actually do with
two tracks. But you still can do quite a bit, depending on if you
actually only have a two-track stereo mix. Sometimes when Iīm mixing,
I often mix down to more than the two track stereo mix. Sometimes
I have brought in an extra snare-drum or kick-drum or a guitar or
whatever. So Iīd have a few other tracks to play with on top of
that. And when youīre remastering, then you can also adjust further
levels or things like that along the way, too. So it can get kind
of complicated. But in most of the cases it was the case of Iīd
have just the two-track stereo mix and Iīm remastering it with some
very nice pieces of gear that can bring out greater fidelity or
punch, you know, bottom, mid-range or top-end, overall sonic punch
and leveling, you can get the thing hotter, so it comes off the
CD in a much louder level. It can cause a great deal of distortion
when you go too loud, you know. But there is a lot that you can
do with that.
Mixing is a whole other thing. You can completely change the whole
dynamic of a performance by masking things, burying some things,
bringing other things up. The result can be completely different.
The drum sound can be completely different. You can change it īcause
you have different reverbs, different EQs on each separate instrument
and different effects on each separate instruments: reverb, delay,
chorus or whatever.
The 'Long lost early mix' of "Noble savage" that now appears
on "HYMNS TO VICTORY" - I canīt hear a big difference to the original
version, it just sounds clearer and more brilliant...
Itīs clearer, yeah. Itīs basically why I chose it. What happened
was the album "NOBLE SAVAGE" was made and was mixed down to 1/2
inch analogue tape, as we do. And then it was taken up to a mastering
lab in Canada and was mastered and cut to the original vinyl that
we made back then, and then later on it was made into C.D. from,
I guess, the original/the same master tapes, master mixes that we
used. But somewhere along the way the actual two-track mixes that
is, some of them disappeared. They must have been lost up in Canada,
or whatever happened, I donīt know exactly what happened.
I still had the multi-track and everything else, but some of them
disappeared. In searching for other things I came across this 1/2
inch mix of "NOBLE SAVAGE" which I even wasnīt sure or didnīt even
remember that I had.
We were doing a mix one day and then went home. Basically, you leave
the board set up you come back the next day and make a few adjustments
and then youīre done. So that mix was from the previous evening.
And, it is pretty much the same in terms of the actual mix.
But, the difference was, when I wanted to remaster the re-issue
of "NOBLE SAVAGE" for the C.D. when we re-issued it, because some
of the original mixes had disappeared, I had to take that particular
track from another source. So, mastering or remastering something
from something thatīs already been somewhat mastered and thatīs
not from the first generation original sound source is going to
have some type of generation loss in quality. So, this version is
from the original master mix.
I couldn't believe it, it is so fresh, so powerful! Youīre not gonna
hear that it is a different animal, īcause itīs made basically with
the same ear, we were going for the same type of mix. Everything
was based on the complete original setup. It has slightly different
things, very subtle kinds of things. But what we have now, is, the
overall power and sonic quality is much better than what was actually
presented on the "NOBLE SAVAGE" mix. So thatīs why I chose to use
that one rather than the other mix I possess.
There are two songs on "HYMNS TO VICTORY" which are quite different
to the rest of the tracks: "Saturday night" (and "Hot and wild"
from "THE BOOK OF BURNING" too) must have been recorded during the
"NOBLE SAVAGE"/"AGE OF CONSENT" era and captures that "Party Metal"
feeling from that time, i.e., from the mid- and late eighties. An
amazing time for the band?
Yeah, that was definitely the party side of the band, and we were
interested in celebrating some of what we did every night. Saturday
night was pretty much every night for us at that point in time.
Just fun and another side of the coin.
They could have been on "NOBLE SAVAGE", but "NOBLE SAVAGE" was vinyl
originally, so it wouldnīt fit. I was not quite sure about them.
They were never quite complete in my mind and they were not quite
as complete as they are now. So they needed some further tweaking.
They sat in the vaults for a long time.
Now Iīve dusted them off, done a few things with them and brought
them to life. I had a rough mix originally. I think itīs far better
now. I changed quite a few things, changed the drum track, bass
was changed, but basically the drum track was changed. More or less,
itīs the same guitar and vocal. "Saturday night" - similar situation,
I think. We re-cut the bass and remixed it.The chorus, oh I think
I added some vocal harmonies to that one. Yeah, Iīm pretty pleased
with them, they have a good energy and I like that other side of
the rainbow, so to speak.
But they sound different to the rest of the material...
I could get away with something like that in this kind of a collection
thing. It wouldnīt make sense putting "Saturday night" or "Hot and
wild" on, you know, "THE HOUSE OF ATREUS" or "INVICTUS". (laughs)
The other "different" track to me is "The mists of Avalon". I
havenīt been listening to anything similar to this song by VIRGIN
STEELE before. Iīve got a feeling that people still can expect the
unexpected from VIRGIN STEELE in the future. Though there might
be many demanding another "Invictus" or "Noble savage", you will
keep from repeating yourself, wonīt you?
Yes, youīre correct. I think itīs best to expect the unexpected.
There may be things that will be stylistically similar to "INVICTUS"
or something like that now and again. But I prefer to constantly
try to grow and bring new things in. That was just another sort
of avenue to pursue. And I always like that there will be several
different avenues and unexpected things on every album that we do
and thatīs a path that we intend to keep, you know, on every record.
If itīs in our power that do so, we will do it, sure.
Whatīs the point, of repeating something, of going ahead and saying
to myself, "Ahhhh, I need another "Sword of the gods" on the next
record!" Am I going to write a better "Sword of the gods"??? It
has already been written!!! I might write something in that style,
but I donīt try to repeat myself.
"Mists of Avalon" was a fun thing. Itīs a different kind of tuning.
Itīs more like a sort of Jimmy Page / Pete Townshend kind of tuning
that Ed was fooling around with, when we were in some basement one
evening, and we wrote that. It just came out. Then we recorded it
in much the same way that we come up with it. We were just in the
studio one evening. I think we had been doing some of the bonus
tracks that appear on "AGE OF CONSENT". We had done like ahhhh..."Perfect
mansions". And it was getting late in the evening and we wanted
to try that one. I cut the vocal and he did the guitar at the same
time. Itīs just the mood in the air that evening. The only thing
I did later to it was add some bells to it, and mix it. It stands
as it was.
"Emalaith" is the concluding track to "HYMNS TO VICTORY". This
song is a part of VIRGIN STEELEīs live shows, it was a part of the
acoustic live sets in Munich 2000 and you use to choose it to be
aired everytime youīre invited to radio stations. Has "Emalaith"
a special meaning for you?
really proud of the song, having written it. Having written a song
of that kind of power and scope, that just drags you along from
beginning to end. I like the way it came out. Itīs one of those
songs that I would love to go back into the studio and mix again
(laughs)! I still think 'I could have made this, I could have done
this, I could have done that'. But overall I think itīs a powerful
piece. I think it contains some of Frank Gilchriest's best drumming.
I really like how he plays on that track. Itīs really free, itīs
one of the first things we recorded together with him, when he joined
the band. Yeah, we recorded that one, ah, "Crown of glory" was actually
the first one he ever recorded with us. But then in the same period
we did "Emalaith" and "Prometheus the fallen one", I think, all
in the same day, same session.
Yeah, I think it just stands up quite well that track. Itīs a big
epic thing that goes out there. Itīs one of the songs that I sometimes
put on and I actually listen to all the way through, ah, really
focusing on it. I donīt wanna hear any thing else after that, it's
like 'Thatīs it, Iīm done'. I can't hear anything else for now.
(laughs) Thatīs one of those things.
I like the drumming on "Crown of glory" very much...
Frank was just a 'ball of fire'. He came in, he just wanted to prove
to us that he was the most incredible drummer that we could ever
possibly encounter and he just really wanted to ingratiate himself
into the band and just do a really good job. So he went all balls
out. It was amazing, stuff would be flying off the walls. There
was like, you know, they had these gold records or pictures on the
walls in the studio and they all came crashing down, pictures and
stuff falling off the walls. It was wonderful! (laughs)
record company made it possible for the fans to give both albums
a listen before they are being released. What Iīve heard and read
so far, especially "THE BOOK OF BURNING" really rocks. I can confirm
this, since the advance copy has occupied my CD-player and keeps
spinning around the clock!
If Iīd put myself in the shoes of someone who hasnīt been listening
to "VIRGIN STEELE - I" and "GUARDIANS OF THE FLAME" before, I would
say "THE BOOK OF BURNING" is a completely new written/composed album.
Apart from the fact, that "Hot and wild" - as mentioned above -
sounds typical "80ies", the album doesnīt give an impression of
being a "compilation". Old and new material are really molded together.
That was the intention: to make a seamless record. These records
were recorded/approached with all the experience we have gained
from doing all the other records weīve done. It was 'Letīs try to
make a really spontaneous focused, well recorded live-record' with
an honest live-in-the-studio kind of feel. Thatīs what we went for
on both tracks old and new, and I tried to make it as seamless as
possible. So it wouldnīt be a hodge-podge of 'this track from here
and that track from there' and that kind of thing.
"I ask the gods some respite from the weariness
of this watchtime measured by years I lie awake..."
thatīs how the original Greek tragedy "AGAMEMNON" begins. Was "Conjuration
of the watcher" originally planned to be the opening track on "THE
HOUSE OF ATREUS - ACT I"?
No. It was from that time period, but it was gonna be, hmmmmm, Iīm
not sure what it was gonna be. Lyrically it really did not make
sense to the story-line. It was its own sort of thing. Maybe it
was going to be a bonus-track somewhere, it possibly was going to
be a bonus-track on "ATREUS" or whatever.
We had more than enough material that needed to be completed at
that point in time. So itīs kind of been waiting there. Itīs a fun
thing that we actually used to play live in its much rawer form,
around the "NOBLE SAVAGE" time. Yeah, I always liked singing that
one and then I re-wrote the middle section, and Ed added one or
two things so we said 'Okay, letīs record it now'.
The re-recorded version of "Children of the storm" kicks really
ass! I must confess, I love this one. The original recording was
good, yet this new one sounds even better! Itīs the only track you
picked from the debut album, which was the first album ever released
on the MUSIC FOR NATIONS label. Bands like Anthrax, Manowar, Megadeth,
Metallica or W.A.S.P. would follow.
In consideration of all the metal subgenres of these days and looking
back to 1982/1983 - did you feel like pioneers of heavy metal then?
I mean, metal in the United States had just started round that time.
Yeah, I think we did. I think we did feel like we were part of a
new movement. The world was young and the world was new. And we
were definitely arrogant (laughs) and eager to ride the winds of
that kind of thing. Those early recordings were done in less than
a week. The whole record didnīt take much time. It is really raw
and there was not much in the way of any kind of budget. But it
was what it was. I was happy to take the opportunity and re-work
it and make it new again. I was never all that crazy about some
of the recordings on the first record at all. And I think itīs definitely
a thousand times better than what happened on the first record.
Your voice used to be the only one to be
heard on all the past recordings. So tell me, to whom belong these
mighty female and male opera singerīs voices we can hear at the
beginning of "The chosen ones"?!
Ah yes, itīs been a policy for VIRGIN STEELE to not really have
outsiders especially in the vocal department. Thatīs the first time
- it was about 20 seconds of, or whatever, 20-30 seconds - of some
other people singing with me. Itīs the first time itīs ever happened
on a VIRGIN STEELE record. Itīs a miracle (laughs).
The female voices are my two sisters: Doreen DeFeis - the opera
voice -, and the other voice is my rock singer sister Danae DeFeis.
And, Jim Hooper - heīs the fiancé of my sister Doreen -, thatīs
the baritone opera voice you hear there.
So there are three voices...
Yeah, actually all four of us were singing there. Itīs those three
people and me.
That sounds really great, but itīs way too short...
(laughs) Yeah, well maybe we'll do some more of that in the future
now that we've found that we can actually do it. Itīwill be something
to explore in the future.
Talking about voices, teach me otherwise, but did you use original
vocal tracks on some of the recordings. "I am the one", for example,
sounds like this.
No, that was all re-done, yeah. I couldnīt be in the same space,
I didnīt want to use any of those things. It was all re-cut.
When did you finish recording the album? Was it after September
11th? I mean, you havenīt written lyrics like "The final days" before.
If this was the case, then I find it astonishing how you transformed
your emotions caused by this sad incident into creativity. Thereīs
a lot of anger in this song.
Thereīs a lot of anger in the song, yeah. But that was written prior
to September 11th. A couple of words were changed on the new recordings.
It was actually written in 1997 by myself and Jack, the lyrics on
that one. No, it had nothing to do with September 11th. It was just
a general state of the world at that point in time. We had this
plane go down, this TWA flight 400, that was blown out of the sky
off the coast of Long Island, that came down in a place called CENTER
MORICHES, which is not far from where I live, itīs further east
from me. So that's what the references were.To that incident, and
various other things happenings. The ills of society. There is a
lot of shit going on, yeah.
"...Blown up airlines in the sky..." - that was talking about this
flight TWA flight 800 that had gone down of the coast of Long Island.
It was like 'Is it a fuel tank?' or 'Itīs a rocket, an accident
from our military in the woods' or some such story was. I don't
think we really got a clear answer. They say itīs a fuel tank thing,
but some people claim they saw a rocket streaking into the plane.
Itīs one of those conspiracies.
I find it ingenious that you put this great acoustic version
of "A cry in the night" (which is my favorite from the original
"GUARDIANS OF THE FLAME" album, along with "Donīt say goodbye (tonight)")
right after "The final days". It creates a great contrast.
The violins and the cello, are they real or did you create these
sounds on your keyboards?
I play them with the keyboard, yeah. Even the acoustic guitar is
me. Itīs a keyboard acoustic guitar. Yeah, Iīm playing all the tracks
on that. Same thing with "Spirit of STEELE", Iīm playing all the
They sound so real...
Oh yeah, there are quite good sounds these days.
This concluding track (best choice, too) gives the listener an
impression of what the acoustic live set, which you performed together
with Ed last year in Munich, sounded like. I find it really a pity
that you didnīt record it for an official release. But, who knows.
So, what are your plans for the near future? You know, the fans
hunger for more VIRGIN STEELE live shows, world wide. You wonīt
let them die by starvation?!
No, (laughs)! We wanna do more live shows and we wanna film them
and record them for a DVD and a future live-album. Sure, it will
be that and some of the acoustic things we have spoken of might
be on a live-album, they might be also just on the next studio-album.
Or they might be used in a special acoustic sort of EP. Iīm not
quite sure what we're gonna do with that and what not. May be a
little bit of all that I just mentioned will happen
especially the acoustic side of things īcause we do enjoy doing
that. As I said there will be another studio-album, probably a collection
of unrelated tracks, that Iīm working on right now. I'm sure, Ed
has some things that he wants to explore as well, so when we start
sitting down together to come up with stuff, we'll see. But Iīve
been writing already, various things, and also there will be for
2003, ahhhh.... I have to do another opera. So there will be another
major "HOUSE OF ATREUS" -type metal/metallic opera work as well.
Thank you for the interview. Itīs been a great pleasure for me
to have talked to you again, David! Greetings to Ed, Frank and Josh
and Frank, we all hope to see you live on stage soon!
to you! Yes, the extended family of VIRGIN STEELE. Thatīs something,
thatīs a question that I am often asked. People ask about the bass-players
in the band or whatever in the line-up. Well, the line-up is the
line-up. The line-up is me and Eddie of course and Frank Gilchriest
whoīs been with us since 1994. And even though he didnīt do the
last tour with us, heīs still in the band and still very much playing
on the records. Heīs still there and he will probably come out on
the road on the next dates. Frank Zummo who filled in for him on
drums also plays a couple of tracks on "THE BOOKOF
BURNING". Heīs playing on "Redeemer" and "Final days". When you
actually see the book you'll see that it tells you on/under each
track who played what. Josh Block who played bass on tour with us,
during this last tour we just did, is playing some bass on the record
and heīs playing guitar too on several things! Heīs playing guitar
on "Rain of fire", "Chosen ones" and "Children of the storm", to
mention just a few. Not
the lead break on "Children of the storm", that was Ed. But he played
quite a bit of rhythm guitar and some solos as well. Solo no.2 and
no.3 on "Rain of fire" thatīs Josh, yeah. And Ed was cool with that,
there were no ego-problems. Frank was cool, Frank G. was
cool and everything. So, we have like an extended family a group
of talented people who wanna work on the stuff. And itīs really
quite a good space or place to be, to have all these talented guys
around. Itīs really good.