Rheingold (Grave Digger album)
Rheingold is the 11th studio album by German band Grave Digger. It is a concept album based on Richard Wagner's The Ring of the Nibelung; the album was released in 2003. Many lines of the lyrics are paraphrased from Wagner; the music has occasional references to Wagner, the most obvious one being the intro to the song "Dragon", the "Siegfried's Horn Call" leitmotif. All songs are arranged by Boltendahl/Becker/Katzenburg / Schmidt. "The Ring" – 1:48 "Rheingold" – 4:02 "Valhalla" – 3:48 "Giants" – 4:37 "Maidens of War" – 5:48 "Sword" – 5:03 "Dragon" – 4:07 "Liar" – 2:46 "Murderer" – 5:37 "Twilight of the Gods" – 6:42 "Hero" – 6:34 "Goodbye" – 4:18The last two songs are only available on the limited edition of the album. Chris Boltendahl - Vocals Manni Schmidt - Guitars Jens Becker - Bass Stefan Arnold - Drums H. P. Katzenburg - Keyboards
Manfred "Manni" Schmidt is a heavy metal guitarist and songwriter, best known for having been a member of Grave Digger and Rage. Schmidt begun his career starting his own band Factor 6. However, the heavy metal band Rage had noticed Schmidt and his skills with the guitar, so in 1987 he was asked to become a member of that band, he become a member of the trio and released many albums with them. In 1994 he quit the band, his first son was born in 1997, the 2nd in 2003. In 2000 another door was opened for him, when guitarist Uwe Lulis left German heavy metal band, Grave Digger, their bassist Jens Becker suggested Schmidt as a replacement, remained with them until October 2009. Apart from these two bigger and more famous bands, he has played with bands like Jack of Hearts and Vötka. In the late springtime 2010, Manni Schmidt formed his own band Capital Joke and is still writing and working on songs for the debut album. Perfect Man Invisible Horizons Secrets in a Weird World Reflections of a Shadow Extended Power Beyond the Wall Trapped!
Refuge The Missing Link The Video Link Welcome To Heartland The Grave Digger Tunes of Wacken Rheingold The Last Supper 25 To Live Yesterday Silent Revolution - Single Liberty or Death Pray Ballads of a Hangman Manni's official homepage Capital Joke @ myspace Manni @ myspace
Liberty or Death (album)
Liberty or Death is Grave Digger's 13th studio album. It was released on January 2007 by Locomotive Records. All songs composed & arranged by Katzenburg; the book directly inspired the title song about the Greek revolution on Crete, with lyrical references to the Greek national anthem. Two songs deal with Germany's treatment of the Jews in the Second World War and a further two more about more Ancient Jewish history. "Ocean of Blood" tells of Moses parting the Red Sea and "Massada" tells of the siege of Masada at the end of the First Jewish-Roman War. "March of the Innocent" is about the Holocaust and "Ship of Hope" tells of the "Voyage of the Damned" of the SS St. Louis. Boltendahl said that the number of songs on this subject was not intended, but that the stories were interesting on their own. "Highland Tears" deals with freedom in Scotland. "Forecourt to Hell" deals with the gladiators in the Roman Empire age. "The Terrible One" is about Ivan the Terrible. "Until the Last King Died" is about the French Revolution.
"Shadowland" is about the atrocities of the Ku Klux Klan in the USA. Chris Boltendahl - Vocals Manni Schmidt - Guitars Jens Becker - Bass Stefan Arnold - Drums HP Katzenburg - Keyboards
Speed metal is an extreme subgenre of heavy metal music that originated in the late 1970s from new wave of British heavy metal roots. It is described by AllMusic as "extremely fast and technically demanding" music."It is considered less abrasive and more melodic than thrash metal, showing less influence from hardcore punk. However, speed metal is faster and more aggressive than traditional heavy metal showing more inclination to virtuoso soloing and featuring short instrumental passages between couplets. Speed metal songs make use of expressive vocals, but are less to employ'harsh' vocals than thrash metal songs." One of the key influences on the development of speed metal was the new wave of British heavy metal, or NWOBHM. This was a heavy metal movement that started in the late 1970s, in Britain, achieved international attention by the early 1980s. NWOBHM bands toned down the blues influences of earlier acts, incorporated elements of punk, increased the tempo, adopted a "tougher" sound, taking a harder approach to its music.
It was an era directed exclusively at heavy metal fans and is considered to be a major foundation stone for the extreme metal genres. The NWOBHM came to dominate the heavy metal scene of the early-mid-1980s, it was musically characterized by fast upbeat tempo songs, power chords, fast guitar solos and melodic, soaring vocals. Groups such as Iron Maiden, Judas Priest, Venom and Motörhead as well as many lesser-known ones, became part of the canon that influenced American bands that formed in the early eighties. Motörhead is credited as the first band to play speed metal; some of speed metal's earlier influences include Black Sabbath's "Children of the Grave", Budgie's "Breadfan" and Queen's "Stone Cold Crazy", as well as certain Deep Purple songs such as "Speed King", "Fireball" and "Highway Star". The latter was called "early speed metal" by Robb Reiner of speed metal band Anvil; the origin song for the genre was aptly named "Speed King" by Deep Purple. Recording on the song started in 1969 making it nearly a full decade ahead of the musical style being recognized.
The song is not only fast and technical but was extremely loud creating noticeable distortion in the recording process. The title song for the bands next album, "Fireball", is a further refinement of the band's influence with drummer Ian Paice's use of the double bass; the way the double bass is played in "Fireball" - up tempo "four on the floor" - becomes a mainstay in many Heavy and Thrash Metal songs in the years to come. This is the only Deep Purple song that employs the double bass and video from the band shows them bring out the second bass as needed to play the song. While speedy, technical playing did not dominate Deep Purple's music, they were the inventors of rock, fast and loud; those characteristics would become the hallmarks of Speed Metal. Given the name of the origin song - Speed King - they probably played a role in the genre's naming. At the least they acknowledged what they were doing, a radical departure from all prior rock music. Black Sabbath are a British heavy metal band from Birmingham and are cited as one of the grandfathers of the genre.
Though known for playing a slow, sludgy tempo, "After Forever" is a up-tempo song with a much faster pace than other songs in their catalogue. Still in certain other songs such as "Electric Funeral", "Into the Void" and "Under the Sun" there is a section in the middle of the song that shifts away from the core music and plays a much faster pace than in the rest of the song returns to the original melody. There are those who believe that their song "Symptom of the Universe" from their 1975 release Sabotage album is the first true example of a speed metal song. Judas Priest are a British heavy metal band formed in Birmingham, England, they played faster than most rock groups of the time and brought a more "metallic" sound to the guitars. Some songs, such as 1978's "Exciter", were groundbreaking for their sheer speed. Exciter is a Canadian speed metal band from Ottawa, formed in 1978, they are considered to be one of the first speed metal bands and a seminal influence of the thrash metal genre. Anvil are another Canadian speed metal band, from Toronto, who formed in 1978.
To date, the band has released sixteen studio albums, has been cited as having influenced many notable thrash metal groups, including Metallica, Anthrax and Megadeth. Annihilator is a Canadian speed/thrash metal band founded in 1984 by vocalist and bassist Jeff Waters, they are the highest selling heavy metal group in Canadian history, having sold 2 million records worldwide. Accept is a German heavy metal band which played an important role in the development of speed and thrash metal, being part of the German heavy metal scene, which emerged in the early to mid-1980s. Of particular importance was their 1982 track "Fast as a Shark". Speed metal evolved into thrash metal. Although many tend to equate the two subgenres, others argue that there is a distinct difference between them. In his book Sound of the Beast: The Complete Headbanging History of Heavy Metal, Ian Christe states that "...thrash metal relies more on long, wrenching rhythmic breaks, while speed metal... is a cleaner and more musically intricate subcategory, still loyal to the dueling melodies of classic metal."
However, on the next page, Christe calls speed metal a "subs
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
The Reaper (Grave Digger album)
The Reaper is the fifth studio album by the German Power metal and speed metal band Grave Digger. It was released on 2 November 1993 for the label GUN Records; this was the band's return after a long hiatus, released seven years after their previous album Stronger Than Ever. A new line-up was formed except for Chris Boltendahl and guitar player Uwe Lulis; the latter had convinced Boltendahl to release a new album in the first place, why he on tried to get the name Grave Digger when he parted from the rest of the band. In this album there was a change towards darker lyrics and faster songs, as well as the start of the trend of featuring the Grim Reaper on the cover; the album cover image itself is a "Dance of Death" woodcut by 19th century German artist Alfred Rethel. Much of the material was written during Boltendahl's short-lived project, Hawaii. All songs arranged by Grave Digger, except track 1 by Piet Sielck. Chris Boltendahl - vocals Uwe Lulis - guitars Tomi Göttlich - bass guitar Jörg Michael - drumsAdditional MusicianPiet Sielck - Lead Guitars on "And the Devil Plays Piano".