Heaven & Hell

Check the new Album HEAVEN & HELL-THE DEVIL YOU KNOW

TONY IOMMI, GEEZER BUTLER, RONNIE JAMES DIO and VINNIE APPICE are metal giants that walk the Earth. Sabbath in all but name, they’ve just written the heaviest album of the year. Thank fuck for drunken conversations in Japan.

It’s funny how things work out.  The year is 2009 and of the most exciting new bands on the planet has just released their debut album. It’s one of the heaviest things you’ll hear this year and makes a lot of other over-hyped metal records sound turgid and uninspired by comparison. Oddly, however, its creators have a collective age of well over 220. Two of the band’s members are frequently cited as being broadly responsible for inventing heavy metal in the first place, while the band’s singer has  sung on at least three albums that are universally regarded as cast-iron classics and, it is often alleged, single-handedly popularised the use of the ‘devil’s horns’ hand gesture in metal. Most bizarrely, despite having constructed a rich musical legacy together under a different name, they have spent large portions of the last two decades not really talking to each other at all after well-publicised and unfortunate squabbles that threatened to put an end to the collaboration once and for all. Some bands have a bit of history to recount. Heaven & Hell - or Black Sabbath, as they were originally known- are metal history. And now they’re back to teach the new generation of bands and fans a thing or two about making music that matters. For singer Ronnie James Dio and guitarist Tony Iommi, this is plainly a case of unfinished business, and as far they’re concerned, their band is better than ever.

“We’ve seen enough bands come back after prolonged layoffs,” states Dio. “Usually you see that when there’s a reformation there, you think, ‘So how much money do they think they’re going to make on this one?’ Those bands are not viable. They don’t count. They’re doing it for their own benefit, which is completely and totally untrue in this case. This shows that no matter how many years pass between this collaboration and these people, it’s always going to be a great product. It’ll always be great. This is a great band.”

“We were on the piss in Japan, and I slurred to Ronnie, ‘Fancy doing an album?’ it was that simple”- Tony Iommi.

Heaven & Hell take their name from the first album that they- minus drummer Vinnie Appice, but plus original Sabbath man Bill Ward- made together in 1980. An instant success that revived the band’s fortunes following the departure of Ozzy Osbourne at the end of the previous decade, it was an album that gave the Black Sabbath name a new lease of life and kick-started a song writing partnership between guitarist Tony Iommi and Ronnie James Dio that, were it not for those rather calamitous fallings out, could easily have outstripped the band’s earlier, more frequently feted incarnation. A second album, the brilliant Mob Rules followed a couple of years later, now with Appice on board. Another, the often overlooked Dehumanizer, emerged in 1992 when the band settled their differences, gave the whole thing another shot and then abruptly fell out again. It wasn’t until some bright spark came up with the idea of commemorating ‘The Dio Years’ with a snazzy box set that it was suggested that it might be quite cool if the band could contribute a new tune or two to make the project more than a mere rehash of past glories. As a result, the hatchet was buried and Iommi, Dio, Butler and Appice were reunited in 2006, recorded three new songs for the box set and, flushed by a positive response, embarked on an ecstatically received world tour in 2007, now under the name Heaven & Hell, a move seemingly designed to avoid any unnecessary treading on toes belonging to anyone with the surname Osbourne. The change of name has been a blessing in disguise, and one that has enabled these veteran musicians to re-launch themselves as an entirely new concern.

“I think it’s been a positive thing,” states Iommi. “I suppose it takes a bit of the pressure off. If we’d gone out as Black Sabbath we’d be playing Iron Man, Paranoid and Black Sabbath, of course, because you’ve got to play some of those songs. We really wanted to go out and play the songs we hadn’t played for a long time, the Ronnie stuff, and it worked really well. It was taking a big risk, because we had a different name, but it’s caught on fairly quick.”

“This album had to be done just to prove that yeah, we were that good for all those years” – Ronnie James Dio

“I, like everyone else, assumed that we’d be going out as Black Sabbath because we were Black Sabbath,” says Dio, “But then it was suggested that we call it something else. Of course, I scratched my head and thought, ‘What the hell are we gonna call it?’, but I honestly didn’t care. But now, with hindsight, I think it was a good idea, it put a fresh stamp on something that everybody knew was Black Sabbath anyway, so you had the connection there already.”

Tony Iommi and Geezer Butler spent much of the 90s and the first few years of this decade performing regularly as Black Sabbath with Ozzy Osbourne, and although many people would have been glad to hear some new music from the band’s original line-up, it never really looked likely. But it didn’t take anyone very long to realise that Heaven & Hell was destined to be much more than an opportunity to trot out some old favourites and wait for the pay cheque to arrive. Anyone who saw the band on their UK tour will testify to the fact that they were obviously on glorious form and clearly up to the task of honouring their legacy with a new album. By the end of the tour, it was obvious to the band too.

This man started Heavy Metal. Kneel before him !!! <><><><>
Tony Iommi! 

“I remember it distinctively,” grins Iommi. “We were in Japan at the end of the tour, and we wnet out for a meal, and we were sitting around, a bit pissed, and I slurred to Ronnie and the others, ‘Do you fancy doing an album?’ and it was as simple as that, really. After the tour, we had a little bit of a break and then I started writing stuff and they all did too. Everything built from there.”

Even given the achievements of its creators, Heaven & Hell’s debut,’ The Devil You Know is a remarkable piece of work. A monstrously dark heavy metal record that frequently strays into authentic doom territory- a mildly ironic state of affairs, given that the genre wouldn’t exist without Sabbath- it’s far heavier and more intense than anyone could seriously expect from a band of this vintage, and yet there’s an undeniable sense that somehow this is precisely what Iommi and Dio should be doing in 2009. Unlike many bands from the early days of heavy music, these are men that have never lost sight of what makes a great metal record and how the genre continues to evolve and reshape itself along the way.

“It seems almost as though this album had to be done just to prove one last time that ‘Yeah, they were that good for all those years, huh?’” laugh Dio. “I’m not saying that this spells the end of the band, because one never knows with this lot anyway and I don’t think that’s going to happen at all. But again, I think it was a necessary album, for the fans and for us. Probably more necessary for us.”

“We’re really happy with the record,” adds Iommi. “We had to try and represent the band at its best. With Ronnie, we’re capable a lot more musical stuff than we did with Ozzy. It’s more involved. And right now, I’ve got riffs coming out of my ears; we’ve got for another bloody record!”

“Having spawned an entire genre with his unique riffs, Tony Iommi has got little to prove, but somehow he seems to have excelled himself on The Devil You Know, with some of the gnarliest and most crushing songs he’s ever penned. What makes the album all the more impressive is the way the riffs are more than matched by Dio’s predictably stunning vocals and lyrics, all of which add to an overall atmosphere of doom-laden grandeur. Whether he’s drawing a parallel between the Garden of Eden and the dropping of the H-bomb on Hiroshima and Nagasaki in Atom And Evil or exposing mankind’s quietly terrified internal monologue in Fear, Dio is evidently not full of the joys of spring right now and the intensity of his emotive observations practically leaps from the speakers and starts clawing at your face. This is seriously dark shit, Ronnie...

“Yeah, I suppose it is,” he says. “The state of the world is going to be my state of mind anyway, so that’s obviously there. Take the song Eating The Cannibals; it’s saying that government has kind of screwed up. They’ve messed up to a point, especially here, that has now affected everywhere and everyone. It’s just always the promise of something and never the return and I just thought, ‘I’m going to open a restaurant and we’re going to serve them, so we can eat the cannibals.’ The song Atom And Evil is a reflection of how I think power can be misconstrued and used for the negative instead of the positive. Bible Black and Fear say loads about the dark side of everything. Neverwhere does the same.”

If we didn’t know so much about the men behind The Devil You Know, we could be forgiven for thinking that it’s the work of a much younger band. There’s little to suggest that this is anyone’s last hurrah or the tired stumbling of a band past its prime. It’s a record that stands up against everything else that’s out there in 2009 and whether that’s attributable to the fact that Iommi and Dio are more than aware of what’s going on elsewhere in the metal scene, or to the fact that their sound is as timeless as it is familiar, Heaven & Hell look certain to inspire a whole new generation of bands and fans.

“Seeing the young metal bands when we tour with them at festivals, seeing them crowd around the stage if they’re allowed to go up there to see the band play, it’s pretty phenomenal to me,” enthuses Dio. “They’re all incredibly respectful and so happy that they’re on the same bill and they can’t wait to compliment you and thank you for the things that you’ve done. That’s what being a musician all is about. It’s a nice challenge. You have to play for your peers too.”

Have you ever noticed how many bands explode into view with a storming debut album before careering rapidly downhill with a succession of disappointment follow-ups, before losing the plot completely and, to no fanfare whatsoever, splitting up? The good thing about Heaven & Hell, the coolest new band on the planet, is this heavy metal lark, and they know more about how to make their music count than any other band. As a result, whether they stick around for more after their forthcoming world tours at this stage, but don’t bet against it- or go their separate ways to pursue other worthwhile projects, the simple fact is that Heaven & Hell have nothing to prove, but they’re proving it anyway.

“We have a much better relationship than we ever did before and everyone is 100 per cent into what we’re doing,” concludes Iommi. “Everyone cares about going on stage and making good show. That’s what I like, that professionalism, Ronnie’s so professional. He can’t stand not to do his best. I like that attitude, and it goes for everybody. It’s nice, at our age, to be this enthusiastic. Its brilliant. We believe in what we do and we’re enjoying every minute.”

METAL MILESTONES

 THE DEVIL YOU KNOW isn’t the first classic album these men have been involved in...

Black Sabbath

Black Sabbath

{VERTIGO, 1970}

Heavy metal’s grand opening ceremony. Tony Iommi’s first riff on this album started it all. Utterly fucking essential.

Black Sabbath

Master of Reality

{VERTIGO, 1971}

The most flawless album of the Ozzy era, this contains an insane number of moments of genius from Iommi and co.

Rainbow

Rising

{POLYDOR, 1976}

Ronnie James Dio teams up with ex-Deep Purple guitarist Ritchie Blackmore and creates the most epic rock record of the 70s.

Black Sabbath

Heaven & Hell

{VERTIGO, 1980}

An electrifying meeting of minds, as Sabbath are reborn with Dio at the microphone. The start of a glorious relationship.

Dio

Holy Diver

{VERTIGO, 1983}

Estranged from Sabbath for the first time, Dio goes it alone and creates one of metal’s crown jewels at the first attempt. Look out!

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Interview with Iron Maiden

Interview with Iron Maiden

You’ve plainly eclipsed all the ambitions you had when this line-up came together at the turn of the century...

Bruce: “Yeah, I think we’ve gone beyond that now. We don’t actually need to be thought of as being bigger than anybody now. We’re our own little entity- it seems to feed off itself, this sort of level of success. It’s great. People are genuinely coming to the band and seeing the band that maybe would never have done so before. I don’t think that dilutes it. They get swept up in it. I’m still meeting people who have never seen the band before, who come along and say, ‘Wow, I never realised it was like this!’, so as long as people like that are coming along, we can’t complain.”

Presumably you didn’t expect to cap it all by winning a Brit award?

Bruce: “It’s a bizarre thing. I think it meant an awful lot more to everybody else than it does to us. My phone ran out of text space three times, with everyone texting me! The thing about it that means so much to us is that it was actually voted for. It wasn’t something that was decided by some committee. It was voted for by fans. That’s what makes it valid, if you like. We’ve had awards before. We got and Ivor Novello award, which is kind of an industry kind of thing but we quite liked that one in a quiet sort of way. It was a musical acknowledgement from your peers, but with the Brits, it’s a big back-slapping fest with all these wankers that present it and all the toadying that they get up to, and that’s not our style.”

Janick Gers: “I don’t need anyone to tell us how good we are. I know how good we are. I don’t need someone to give me a tin cup. Awards are great, but my Ivor Novello award’s in the bog, so every time I go for a wazz I think, ‘Oh, there’s my Ivor Novello!’ It’s great when people say. ‘Congratulations, you’ve done well. ‘But we’re a cult band. It’s a nice thing to be given and we accepted it with dignity and we won it on our own terms. We didn’t sell out and that’s a great thing.”

That relationship with the fans seems to be the central focus of flight 666, was that the original intention when you agreed to make a film about this tour?

Steve: “Yeah, it is about the fans, and it’s about the crew and everything else. Obviously it’s about the plane too, because this is the first time we’ve done that, so that’s part of it as well, but yeah, it’s about the fans. Maiden has always been about the fans so it’s great to have them as the real stars of the show.”

Bruce: “I think that is, by and large, the real story of Maiden. The story is about the band and the fans, because that’s what’s created everything. All the media that’s been focussed on Maiden over the last few years would be utterly meaningless if it wasn’t for the fans responding to it.”

Did any of you have reservations about letting a camera crew into your lives, 24 hours a day, for such a long period of life?

Bruce: “I probably had less than the other guys because I’m used to doing lots of interviews and things like that. Adrian was a little wary but I think he kind of warmed to them because they were nice guys and they did just join in and became part of the crew. If we’re all arsing around dressed as transvestite Scotsmen wearing Ken Dodd wigs and some of the crew get out their mobiles and start taking pictures, you don’t say ‘No pictures!’ because they’re your mates and everyone’s having a laugh, and it was actually the same with the documentary crew, which could’ve been a dangerous thing if they’d decided to fuck us over!’”

 

Adrian Smith: “Ironically, out of everybody I probably got on with the film crew really well. I knew the guys from before and I just like them as people. I thought their metal, and the stuff I’ve seen them do was really from the heart and it was interesting and it was intelligent and I thought they’d do a good job, so I felt quite open to it.”

Janick: “I was really very happy about it. I don’t want to be a film star! Bands should have a bit of mystery about them and I think a lot of that is better left unsaid- once you demystify it, it’s not as interesting. So I wasn’t really up for it. I kept my head down and kept as much out of the way as I could. But the guys were commendable; they came in and tried not to get in everybody’s way.”

Dave Murray: “Over the years there have always been people around, filming a lot of shows, so after the initial thing you forget they’re there. They were a nice bunch of lads too, so it wasn’t right in your face.”

Nicko McBrain: “Sam and Scott were absolutely amazing guys to work with. They weren’t really in our faces that much. I did tell then to fuck off a couple of times. Usually when I was closing the toilet door. Ha ha ha!”

In the film, Bruce says he wants Maiden to be a band that people can believe in. Is that fundamental to your success and the way you conduct yourselves as a band?

Steve: “I’d like to think that we’ve always been that from the beginning. I think that’s why so many people really follow us so fervently. I’d like to think that’s what it is anyway. Obviously it’s the music first and foremost, but the fans really do believe in us, sometimes obsessively, but that’s a positive thing, I think.”

Bruce: “Years ago, someone asked ‘What’s the secret of Maiden’s success?’ and I said that I wished it was complicated, but it’s just ‘Don’t let people down.’ You can count on Maiden. Always try your best and always be honest and don’t let people down. People will forgive you a duff album if they know you weren’t taking the piss and you tried to make a good record. They’ll forgive you if the honesty and the intention are here. If you turn around and suddenly get rid of the whole Maiden sound and do something crass and commercial and it’s a duff album, revenge will be merciless and probably well deserved.”

Adrian: “I think it’s been an important part, because of the philosophy behind the band. There’s a bigger picture that develops a life of its own. It’s important that people see that we’re a real band because there’s so much bullshit in music now.”

Do you ever stop to consider what an effect you’ve had culturally in so many countries, cities and continents?

Steve: “I think you notice it more when you come to a country where we’ve never been before, and the people are just so pleased that you’re here. When we first went to India, the fans were saying that they’d grown up with the music and they totally knew all the words and they’re learning to play Maiden songs and all that, and it’s kind of hits you more. It’s quite amazing really. It does hit home sometimes. You do have to keep it in perspective, but you see banners saying ‘Iron Maiden is my religion’, and for some people it is! It’s really, really important part of our lives.”

  

The audiences in South America seem to have an extraordinary passion for Maiden, and that really comes across in the film. Why do you think those kids love the band so much?

Adrian: “It’s not the richest of continents in terms of people’s standard of living. There’s a lot of poverty. When you get poverty, music is very important. I think it’s what the band stands for. We do have principles. We’ve never gone down the radio route, the semi-cabaret approach. The fans can see that the band’s real and they can relate to that. There’s a loyalty there, like a football crowd. And they like the music, obviously! Ha ha ha!”

Nicko: “It’s difficult to explain, because we give it 100 percent plus wherever we are. One show isn’t different from any other in terms of what we put into it, but there’s this passion down here in South America. Like Bruce says, ‘The further South you go, the hotter it gets.’ The great thing is, the crowd takes over for you. You get breathing time between songs because the kids are going crazy and you’ve got to let them vent. You can see it in the movie. It’s such passion.”

Steve: “They’re the best audiences in the world. That’s not taking anything away from the other Maiden audiences, because they all know how good they are. Everyone’s passionate about Maiden to a certain degree, but if you wanted to rent a crowd, you’d go to Chile, Argentina or Brazil, any of those places.”

Since the last Album you’ve been around the world twice more and now there’s a lot more people looking to what you’re going to do next. Is there pressure to make the next Album a truly great one?

Janick: “In all honesty, if we want to be a valid band, we have to do that. The last album’s a great album. This has been a retrospective tour and that’s great, but I don’t want to live in the past. I want to live now, not 20 years ago. This has been a great tour and I’ve loved it. It’s been one for the kids. We’ve played songs which we’ll never play again and songs which we’ve never played before. I’ve loved playing the stuff, but if we’re a real band then we need to write new stuff that is as strong as the last album.”

Adrian: “What are we gonna do? We write music, we’re musicians, so we carry on. The great thing is you’ve got an audience that wants to hear what you’re gonna do. In the real world that’s not very common situation, so you’ve got to appreciate it”

Dave: “I don’t think it matters that there’s more people. We’re not suddenly thinking that we’re under a microscope. You block that out and focus on what you’re going to do. You can’t start changing the way you think because you’re hugely successful. It’s wonderful that it’s happened, but fundamentally we’ll go back and do another album and approach it as we’ve done before.”

Steve: “We never plan anything. We don’t write on the road. The beauty is that we never know what we’re going to do next. Last time, we didn’t sit down and say we were going to write a load of long songs. I like that spontaneity and we don’t have a direction. We just go where we feel like going at the time.”

You’ve been quoted as saying that the 15^th Album could be the last one. That’s the next Album. But you can’t possibly stop now, surely?

Steve: “I personally think there’ll be more, but it’s hard to say. It really is a question of time, fitting everything in it. We’re in so much demand for live shows, which is really nice, but we still want to do our studio stuff, so if there’s time and everyone wants to do another one, we’ll hopefully do more. At this point, everyone does want to, but three years down the line, who knows? You can’t go on forever. We all know that. I think that’s why we’re enjoying it so much as well, because we know that it’s not too far away that we’re going to end up knocking it on the head.”

Bruce: “We might have to carry on. We’ll just have to manage it, and get some bionic implants. I’ll put some springs in my legs.”

Do you ever take stock, look out of the Hotel window when you’re in Ecuador or wherever, and think ‘This is a long way from the Ruskin Arms’?

Dave: “Absolutely. Sometimes it just hits you. It’s quite amazing. You’re in some massive city in Ecuador, surrounded by mountains, and you see the whole culture and it’s a great thing to be able to travel like this. But yeah, it’s a hell of a long way from the Ruskin Arms, but it’s been a great journey.”

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Road Tales

Enter Kazoo Man- Bruce’s Dark secret.

It needs to be known. Bruce Dickinson is an addict. Aside from the fencing, the movie production, the script writing, the racing car driving, the piloting, the singing and the gigging, yes there is one more secret that our Homeric hero has failed to reveal to the wider world. And it ain’t pretty.

Ladies and gentlemen, please brace yourselves for a shock; members of Iron Maiden FC start your wailing and gnashing of teeth now, for you see, Mr B. Dickinson of this parish is (gasp!)...a Kazoo addict!

Strange but true, Mr B, in an attempt to prolong the post-gig high, can be found propping up many a hotel bar, not with red wine (although, trust us, he can down a gallon of Argentinian Malbec with the best of them on this tour), but holding one of his five garishly coloured plastic kazoos, as he whispers, “Say ‘ello to my leetel fren...”

We’re in the bar of Quito’s Swisshotel as Bruce busts out what can only be described as the most surreal version of Phantom Of The Opera the known world has ever heard.

As an astonished group of incredulous onlookers rewire their hearing aids and reorder scrambled brain patterns, out comes the central charge of The Troopers and the romp ands with Hallowed Be Thy Name. Truly awful. Truly bloody funny! “Nicko and I are gonna get pissed one night and film a set for youtube- nobody will believe it’s us!” grins Bruce.

“Maiden’s always been about the fans. They’re the real stars of the Show”- Steve Harris.

“It’s a hell of a long way from the Ruskin Arms, but it’s been a great journey”- Dave Murray.

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CHAIN LINKS

Death To All But Metal.

Search for ‘steel panther’ on youtube.com.

 Death To All But Metal is the greatest rock video we’ve seen since Twisted Sister’s I Wanna Rock  and the song is a work of genius too. All hail to Panther! 

Metallica.

Search for ‘metallica saxon biff’ on youtube.com.

Metallica love a good cover version, and this hook-up with Saxon’s Biff Byford for Motorcycle Man in Paris recently is one of the best.

Metalyptica. 

Search for ‘metalyptica’ on youtube.com.

At the other end of the quality scale, these plucky young lads from the Middle East appear to be somewhat out of their depth. M (aster of P) uppets!

The Spirit Of Metal.

Visit www.xtrememusic.org/metal

Intriguing musings on the subject of spirituality and metal from the likes of My Dying Bride. DragonForce and Faith No More. Proper brain food for those who need more cerebral nourishment!

Def Leppard High.

Search for ‘def leppard high’ on youtube.com.

Prepare yourself for a massive Download sing-along with this classy clip from the early days of the mighty rocked. And be ready to sing along with them this year too! 

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Interview with Sid Wilson- Slipknot

What was your first tattoo?

"A dead dolphin! People were getting tattoos and it was popular to get a rose or a dolphin or something stupid like that, so I got a dead one! That was when I was in high school, just a needle and thread and some ink."

That ‘MUST KILL’ tattoo on your knuckles is a work of genius!

“A long ago Slipknot had a band member that was a baby and he used to write that on my knuckles before each show. When he left I’d write it on myself, but it’d smear off when I surfed so I got it tattooed. You get interested reactions, but you find a way to draw people to the positive rather than the negative. They’re like, ‘What the hell is that?’ I’m like, ‘Well, that’s the sad truth about the human race...’ then we’ll get into a political conversation and start seeing each others’ views and learning shit about each other. And it keeps people away if they don’t have the guts to ask or deal with issues in society. But if someone has the guts to come forward and ask and try to figure it out...those are the people who want to evolve and find out the reasons why. Those are the people who turn out to be your friend because those are the people who have the strength to make change.”

Is that a ‘TWIN TOWERS’ tattoo on your arm?

“I just kind of vision a tattoo I wanted of a city on fire, with two tall buildings, one taller than the other, and a church at the bottom. It was only after I got it done that 9/11 happened with the twin towers, one shorter than the other exactly as it happened. Even the church at the bottom, I guess there was a church at the bottom and pretty much the only survivors were in the church. Most people are like, ‘Bullshit!’ but I don’t have to argue.”

Can you predict lottery numbers too?

“No, unfortunately.”

Is it important for you to have a good relationship with the tattooist?

“Not necessarily. Sometimes you just get a keepsake tattoo. Depends what kind of tattoos you like: some people like getting entire pieces and some like getting pirate tattoos that are kind of scattered all over and it’s like the mark of a traveller, someone who moves around, gets different people doing their work. Some people just get one person doing all their work, but if you ask me I’m like, ‘Oh shit, I don’t remember. This was some guy I met in New York and we sat up all night on the bus.’ The one with the cigarette crucifix with the matchsticks in it...We always called them ‘death sticks’ and I quit smoking so I thought it was cool since I hadn’t smoked for three years. It was done by Von Munster in Vegas whose dad was a famous circus clown. I liked the fact that his dad was a circus clown and he was really funny, such a weird, quirky guy...You’ve got to be one to smell one out! I was like, ‘This guy’s cool as fuck!’ Most of my tattoos are free, though.”

It shows a lot of restraint that you are not entirely covered then.

“Oh yeah. I’m still a little picky, but I get offers all the time. It I don’t know what I want then I’m not gonna get one, but if I happened to be somewhere and something was drawn yesterday and it’s an original drawing then I’ll get that. It’s gotta be special somehow.”

Tatt-Dos and Tatt-Don’ts

“Don’t feel in a hurry to do it and get a tattoo that you really want. Don’t get one just for the sake of getting a tattoo. Have an idea of what you want- don’t just pick something off the wall. Some shops have custom flash- after you get it tattooed they’ll get rid of the flash so no one else has that tattoo.”

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