Dogs of War (album)
Dogs of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. It is the last album with Graham Oliver on guitar. All lyrics written by Byford/Glockler. A 2006 CD re-issue on SPV/Steamhammer Records includes two bonus live tracks: "The Great White Buffalo" and "Denim and Leather" recorded in 1995. Biff Byford - vocals Graham Oliver - guitars Paul Quinn - guitars Nibbs Carter - bass guitar Nigel Glockler - drums Rainer Hainsel - guitars ProductionBiff Byford - producer, mixing Rainer Hänsel - producer Kalle Trapp - mixing engineer John Mc Lane - mixing engineer Gems Studio in Boston, England - recording location Karo Studios, Germany - mixing location Paul R. Gregory - artwork
Graham Oliver is an English guitarist, born in Mexborough, South Yorkshire. He was a founder member and main songwriter in the heavy metal band Saxon from 1976 to 1995. Oliver was a budding guitarist while working in a factory in the mid-1970s, but gave up after losing the tip of his index finger in an accident with a door, sold his prized 1962/63 Fender Stratocaster, he was, encouraged by future bandmate Paul Quinn to learn to play again. Oliver was a member of the band Son of a Bitch, formed in 1975, along with future Saxon bassist Steve Dawson, Steve Firth on vocals and drummers David Bradley, John Hart and John Walker; the band merged with another local band to become Saxon, with whom Oliver played from 1976 to 1995, acting as the band's main songwriter as well as guitarist during a period in which the band had five top 20 albums in the UK. After leaving Saxon in 1995, he reformed his old band Son of a Bitch with former Saxon bassist Steve Dawson and drummer Pete Gill. Son of a Bitch released.
Bullet and Gill left the band after the release of the album. They were replaced by the vocalist John Ward, another former member of Saxon, Nigel Durham on drums. In 1999, Oliver and Dawson trademarked the name'Saxon', claiming they had exclusive rights to it, attempted to stop Saxon singer Biff Byford from using the name; the trademark claim was overturned after it was ruled to be in bad faith, setting a legal precedent for ownership of a band name. Oliver and Dawson changed the name of the band to Oliver/Dawson Saxon, undertook a British tour with Ronnie James Dio. Graham duetted with Doug Aldrich on "Rainbow in the Dark" on the last gig at Plymouth. Oliver has released the solo album End of an Era in 2001. Five of the tracks were written and performed by the rock indie band Bullrush, with whom Graham Oliver's son Paul played drums, along Steve Tudberry and Scott Howitt. Appearing on the album were Pete Gill, Steve Dawson, Kev Moore, Paul Johnson, Phil Hendriks, Richard Spencer and Chris Archer.
Since 2002, Oliver has played with former Marc Bolan session musician Paul Fenton, touring under the banner "Mickey Finn's T-Rex" and "T. Rex"; this opportunity materialised after Oliver played "Get It On" with Rolan Bolan at a show in Bradford. Oliver suffered a stroke in January 2010. In 2011, Oliver joined pupils at Mexborough School in their production of the Ben Elton musical We Will Rock You. In 2012 guitar manufacturer "Vintage" collaborated with Graham to produce two signature guitars based on his famous Gibson SG and Flying-V guitars. The'SG' model Vintage VS6GO and the'V' model Vintage V60GO. Oliver and Steve Dawson wrote the book Saxon Drugs and Rock and Roll - The Real Spinal Tap, published by Tomahawk Press in 2012, with a foreword by Harry Shearer; as of 2017, Oliver was still playing in Oliver/Dawson Saxon. He is an authority on Yorkshire ceramics. Studio albums Saxon Wheels of Steel Strong Arm of the Law Denim and Leather Power & the Glory Crusader Innocence Is No Excuse Rock the Nations Destiny Solid Ball of Rock Forever Free Dogs of WarLive albums The Eagle Has Landed Rock'n' Roll Gypsies Greatest Hits Live!
BBC Sessions Live at Buxted Lodge 1980 Victim You Re://Landed It's Alive The Second Wave: 25 Years of NWOBHM Motorbiker End of an Era Graham has made a handful of guest appearances with Barnsley comedy band The Bar-Steward Sons of Val Doonican Strong Arm Of The Law Jump Ararnd The Devil Went Darn To Barnsley Crosstarn Traffic Wheels Of Steel Official website
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me
Nigel Glockler is an English musician, best known as the longtime drummer for the heavy metal band Saxon, which he first joined in 1981. His surname is sometimes misspelled as "Glockner", he began his musical career in 1980 as the drummer for the British band Krakatoa. In 1981 he worked as a session musician with the singer Toyah. At the end of that year, he joined Saxon. Glockler has been with Saxon since except for two temporary absences. Glockler first left Saxon in 1987 when he was invited by Steve Howe to join a reformed lineup of the supergroup GTR; that lineup did not release any albums though some songs appeared on albums by other GTR members. Glockler returned to Saxon in 1988. In the early-to-mid 1990s he contributed to the albums Turbulence by Steve Howe and Aqua by Asia, plus two albums by The Original Iron Men. Glockler stayed with Saxon until 1998 when he was forced to temporarily retire due to neck injuries that impeded his drumming. After receiving medical treatment, Glockler was able to play drums again, first contributing to the album Mad Men and English Dogs with Saxon guitarist Doug Scarratt in 2001.
Glockler again rejoined Saxon in 2005 upon the departure of drummer Jörg Michael, remains with the band as of 2018. In late 2014 he survived several surgeries. 1982: The Eagle Has Landed 1983: Power & the Glory 1984: Crusader 1985: Innocence Is No Excuse 1986: Rock the Nations 1989: Rock'n' Roll Gypsies 1990: Greatest Hits Live! 1991: Solid Ball of Rock 1992: Forever Free 1995: Dogs of War 1997: Unleash the Beast 2006: The Eagle Has Landed – part 3 2007: The Inner Sanctum 2009: Into the Labyrinth 2011: Call to Arms 2012: Heavy Metal Thunder – Live: Eagles Over Wacken 2013: Sacrifice 2015: Battering Ram 2016: Let Me Feel Your Power 2018: Thunderbolt 1992: Aqua 1996: Archiva 1 1996: Archiva 2 1981: Anthem 1991: Turbulence https://www.discogs.com/es/artist/285446-Nigel-Glockler https://www.allmusic.com/artist/saxon-mn0000259800 http://dedica.la/artist/Nigel+Glockler/biography#. UUYxxj6mmFE
Encyclopaedia Metallum: The Metal Archives is a website which lists bands from various forms of heavy metal music. Encyclopaedia Metallum was described by Matt Sullivan of Nashville Scene as "the Internet's central database for all that is'tr00' in the metal world." Terrorizer described the site as "a fully-exhaustive list of pretty much every metal band with full discographies, an active forum and an interlinking members list that shows the ever-incestuous beauty of the metal scene". There are exceptions for bands which fall under disputed genres not accepted by the website. Encyclopaedia Metallum attempts to provide comprehensive information on each band, such as a discography, pictures, line-ups, biography and user-submitted reviews; the site provides a system for submitting bands to the archives. The website is free of advertisements and is run independently; the Encyclopaedia Metallum was launched on July 17, 2002 by two Canadians from Montreal using the pseudonyms HellBlazer and Morrigan.
A couple years prior, HellBlazer had the idea of an encyclopedia for heavy metal and attempted to write each band's page using HTML. Although he gave up with that initial attempt, a automated site with contributions from its users was in the works; the site went live early in July 2002 and the first band added on July 7. In just over a year the site had amassed a database of over 10,000 bands; the site continues to grow at a rate of about 500 bands per month. On 1 January 2013, the site announced that bands with digital discographies could now be submitted to the Archives, changing the site's decade-long policy of physical releases only. Digital releases must have a fixed track listing, album art, professional or finished production and be available in a high-quality or lossless format through official distribution sources. On 13 November 2014, the number of bands listed in the database reached 100,000; the site has a tradition of April Fool's Day pranks. This started in 2009 with the addition of Korn into the Metal-Archives and several dozen user reviews praising their first self-titled album, with the news article of the day claiming that the first album was metal enough for the site.
A series of staged arguments between moderators appeared throughout the day on the site's forum. 2010 was the year. In 2012 the site posted an FBI logo on the main page, suggesting that the site was suspended by the FBI as a result from the SOPA and PIPA bill, a much-talked about phenomenon in the media around this time. Despite the ability to bypass this image just by clicking on it, many people took the prank and thought that Metal Archives had been shut down for promoting internet piracy. Nickelback was added to the Metal-Archives in 2013 in a prank, similar to the 2009 Korn prank, as it had user submitted joke reviews praising various Nickelback albums. In 2014, the prank consisted on the addition of several reviews of an EP called Penis Metal released by Chilean black metal band Hades Archer, followed by the addition of the band's logo and pictures which included penis on them; the band's style was changed to Penis Metal. A secondary prank involved the spontaneous deletion of controversial band Meshuggah, leading to another series of arguments between moderators on the site's forum, although not to the extent of the 2009 prank.
Meshuggah were reinstated the following day. For the 2015 prank a hoax news story was posted "announcing" that the site was no longer free to use and the site was introducing paid membership features. A following news post revealed. In 2016, following an argument between moderators and users alike on the question of moderating reviews, an announcement was made that reviews were no longer being accepted and that all existing ones would be deleted; the same day another announcement was made that the staff had changed their minds by bringing back the reviews as well as having every future review accepted automatically. This resulted in a wave of joke reviews. In 2017, the staff members announced that they would now produce articles commentating on the metal scene, proceeded to post tabloid and gossip articles on the site; these were taken down the next day. In 2018, the website announced that it was no longer accepting new band submissions, arguing, "We have over 120,000 bands, more than we thought possible.
That is more than enough to declare our database 100% complete. Safe to say, no other resource comes close to being as thorough and comprehensive." The "last" band to be added on the site was Michael Schenker Fest. That day, the website revealed that this was an April Fool's prank, wrote, "Band submissions are open again. Here's to another 120,000 bands and more!." In 2019, the website announced it was deleting most pages and would only list bands deemed "good" by the staff. Traditional heavy metal genres and era have stringent rulings; this is because in the past, some submissions labeled with those genres have turned out not to be metal, according to the site's guidelines. Some bands wh
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Digipak is a registered trademark for a patented style of optical disc packaging. A digipak case consists of a rectangle cardboard package with one or more plastic trays capable of holding a CD or DVD attached to the inside. Variations include where the discs sit on a spindle inside. Among commercial audio CD releases, Digipak-style cases are one of the few common alternatives to the somewhat brittle jewel case. Digipak-style cases grew in popularity among recording artists in the early 2000s. Since Digipaks were among the first alternatives to jewel cases to be used by major record companies, because there is no other common name for Digipak-style packaging made by other companies, the term digipak or Digi-Pak is used generically when the media holder is a hub or "Soft Spot" rather than a full plastic tray. Digipak-style packaging is used for CD singles or special editions of CD albums and the tall DVD Digipak is used as a premium package for DVDs and DVD sets; such packaging is less resistant to abrasion than jewel cases, so it tends to show signs of wear quickly.
Licensed digipak manufacturers such as domestic U. S. printer and disc replicator Oasis Disc Manufacturing recommend coating the raw printed paper with a protective UV coating, thus ensuring greater longevity. Although less vulnerable to cracking than a jewel case, the disc tray inside the package remains rather brittle and is prone to cracking if the package is crushed; the disc tray can become detached if stored improperly. Manufacturers have sought to reduce environmental impact and improve functionality by introducing recycled components into its trays. Another one goes one step further by eliminating the plastic tray and replacing it with a paper tray made from sugarcane and egg carton. Many printers use sustainable material for the board stock. IMPAC Group, Inc. owned the Digi-Pak trademark. That company was folded into its AGI Media division. Following this acquisition, the Digipak name and designs were licensed to manufacturers around the world. MWV sold AGI Media to Atlas Holdings in 2010.
In 2012, Atlas purchased Shorewood Packaging from International Paper and merged the two companies to create AGI-Shorewood. Optical disc packaging Digipak Gallery from a digipak manufacturer Digipak equipment manufacturer