Newsgroup: it.arti.musica.metal
Titolo: American Soldier...

I testi:
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http://www.anybodylistening.net/breakdownroom/index.php?topic=1008.msg13920#msg13920
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Gentilino Rules, Oro Saiwa sucks 

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http://www.anybodylistening.net/breakdownroom/index.php?topic=1008.ms.
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I testi mi piacciono. In generale il disco sembra ricevere i primi
positivi commenti (non vuol dir nulla, erano positivi anche per
O:MII). Quel poco che ho sentito mi pare molto interessante ed anche
il singolo, che all'inizio mi diceva poco, si fa apprezzare sempre di
più al crescere degli ascolti. Per chi sa il francese:
http://www.musicwaves.fr/frmchronique.aspx?pro_id=3991
Gianluca

 più al crescere degli ascolti.
Il singolo riporta un po' a hear in the now frontier per il modo di 
cantare. Buoni i suoni, il brano in se non mi sembra malaccio, sul 
ritornello le chitarre sanno di king's x.
sperem...
-- 
Sláinte, Eirinn
icq# 3346238 - 
http://eirinn.altervista.org/
"Per aspera ad astra"

 sperem...
Pensa che ho sentito anche due o tre cose che sembrano anche
nettamente meglio di questo.
Gianluca

O:MII).
Sul Rock Hard sbroc-sbroc ha preso 8. Si parla del migliore dai tempi di 
Promise land popsisicerto.
Carlo 

 di Promise land popsisicerto.
Non che ci voglia molto...
Pikkio 

 Pikkio
Insomma, se supera "Tribe" e "Hear" è davvero un bel disco.
Gianluca

 ha scritto nel messaggio 
news:4f9d7967-d1b2-4e1d...@v15g2000yqn.googlegroups.com...
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Per me OM2 schiaffeggia Tribe 

 Per me OM2 schiaffeggia Tribe
più o meno il 90% delle uscite di qualsiasi gruppo schiaffeggia
tribe...
--
Eirinn

 Eirinn
NHC.
Comunque ho comprato Rock Hard e contribuito così, indirettamente, al
prossimo yacht di Niccolò.
Peccato che la recensione sia stringatissima.
Gianluca

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http://www.anybodylistening.net/breakdownroom/index.php?topic=1008.ms.
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QUEENSRYCHE
AMERICAN SOLDIER
Track-by-Track with Geoff Tate
“SLIVER”
“Sliver” is the introduction of the soldier into the military
environment. It is “boot camp”. Time to grow up and let go of your
childhood and become an adult and move into the world arena.
Military Drill sergeants use the phrase, “welcome to the show” when
referring to warfare and I used this as one of the main lines for the
song. I had interviewed A.J. Fratto, a Navy rescue swimmer and crew
chief for the Blue Angels, and later had him down to the studio to
sing the lines for the song. All the lines of the songs were taken
from the interviews I had conducted. These are the soldiers words:
“This shit’s for real; there’s no where to hide.”
“UNAFRAID”
“Unafraid” is an interesting and different song for Queensrÿche. It’s
different because we used the soldiers’ own words from the interviews
as the verses for the song. Not only do we have people other than
myself performing the verses, but they’re not even singing—they’re
speaking. The two men are talking about conflicts of different time
frames—one Vietnam and the other Kosovo—and in listening one would get
the impression that they were talking about the same situation,
because they are saying some of the same things.
Musically, it’s a pretty adventurous track. We constructed the music
around the verses. If you listen, the guitar in the verses is in mono,
not stereo, so there is room to hear what is being said. On the
chorus, the music changes to stereo again with me singing the lyrics.
There are a lot of interesting audio things going on with this record,
which is what makes it so effective to listen to with headphones.
“HUNDRED MILE STARE”
This is one of my favorite songs on the collection. I like the idea of
what this song is saying, and the lyrics are almost hard for me to
sing, because the soldier is saying, “What ever happened to people
feeling a conviction and having faith in an idea and a belief? People
can’t stand their ground. I’ve always known that it’s very black and
white, and I have no fear of any judgment. The military has taught me
that . . .” I find that statement to be really challenging, because
I’m one of those vacillators that goes back and forth and tries to
think of every angle, the cause and effect. That’s definitely not me
talking! [Laughing]
The chorus talks about the mentality of the unstoppable force. If
you’ve ever played a sport or have been on a roll writing music as a
musician, you know that unstoppable feeling—that’s what this song is
getting at. It’s a combat song, really. It’s one of my favorite
melodic Queensrÿche songs. It’s very anthemic with really beautiful
parts.
“AT 30,000 FT”
This song is about a pilot and his experience, which is very different
from ground personnel. Pilots have a very different perspective on
things, a very different job. The song deals with this particular
soldier’s feelings of being separate from the devastation he is
inflicting. He’s above it all, flying 30,000 feet in the air, dropping
bombs on targets. He’s not involved in hand-to-hand ground combat. He
said that it’s a strange feeling to know that you’ve just wiped out an
entire city with a touch of a button, and then you’re back at the
base, watching reruns of a TV show. It’s just another day at the
office. There’s no emotional attachment to it like a guy who was in a
platoon and may have lost buddies. The pilot is dealing with a whole
different set of issues that are a lot harder to define . . .
I wrote this song, and then months later I got a chance to play it for
Lynn, the pilot whom I wrote it about. We have it on camera. He was
reading it, and tears were running down his face. I asked him what
moved him, and he said the line, “The tortured, painful cries will
never fall upon my ears, and never stain my elder years. My heartbeat
is all I’ll feel.” He was disconnected from it all at the time, but
now he thinks about it regularly.
There is a very effective musical section during the solo where
Michael used the guitar to be representative of an airplane flying
over the city dropping missiles and bombs, very chaotic.
“A DEAD MAN’S WORDS”
This was inspired by a situation that is very prevalent in the
military. They have a policy that no soldier is left behind: If
somebody is shot down behind enemy lines or in a man-down situation,
the military mobilizes to get them to safety.
This is a story about a soldier that was shot down behind enemy lines
and how a group of volunteers went in to rescue him. It’s told from
the perspective of the soldier who was shot down and injured and the
soldier who volunteered to go in and get him.
Last year on our American tour we had a contest to win a chance to
sing on our record and a gentleman named Vince Solano won and sings
the part of the rescuer.
The story is set in the Middle East, so we gave the music that feel
with Middle Eastern modes and Arabian scales.
“THE KILLER”
Shoot or die? What are you going to do? On the battlefield, you have
to make that decision and you have to react quickly. Fundamentally, I
think the song is about judgment—making the call and standing by your
actions. This song wasn’t inspired by any one interview; it was a
combination of all of them. All the battle veterans I interviewed had
the same perspective, kill or be killed.
The other idea represented in this song was how do non-military people
relate to what the soldier experiences in battle. One soldier said
that on his return from the Gulf War, his mother wouldn’t even talk to
him because she thought that what he did as a soldier was disgusting;
it went against her religion. She felt so strongly about it that she
couldn’t even look him in the face. There’s a line in the song that
other people have written before, and I have used in other songs, “You
can’t begin to imagine where I’ve been until you’ve walked in my
shoes.” It’s a very true statement and one that maybe we should all
contemplate.
“MIDDLE OF HELL”
The title of this song came from a something a soldiers’ dad had said
on the eve of his son’s deployment. He asked his son to be careful
because he was going into hell. The soldier wrote back to his family a
month after being overseas and told his dad “you were right, I’m in
the middle of hell”. A soldier named Anthony was on humvee patrol in
Baghdad. His vehicle was blown up with a buried mine and Anthony was
severely injured and almost died. He said that patrolling the streets
was incredibly tense because every time the vehicle would stop there
were hundreds of people surrounding you and they didn’t seem happy.
They didn’t want soldiers there. Everyone was dressed as a civilian so
how do you know who the enemy is? How do you deal with that? You’re on
constant alert, watching for something out of the ordinary.
He also told a story about being back home from his tour of duty and
was pulled over by the police. When he asked what he was doing wrong,
the officer said that he was driving down the middle of the road.
Anthony said he was sorry, but he’d just gotten back from Iraq, where
they couldn’t drive in the actual lanes because that’s where the bombs
were. That inspired the line in the song, “We drive straight down the
centerline. No mistakes, not like last time. You don’t want to be on
the wrong side of Hell.” The chorus says, “I’m all right. I’ll be all
right,” and that’s a mantra these guys constantly repeat to
themselves. They may have lost an arm, a leg, and an eye, but they’ll
still keep telling themselves they’re going to be all right.
Musically this turned out very hypnotic, it’s very representative of
driving. I put down a saxophone solo that Michael plays off with the
guitar, intercepting and colliding at different times so the song has
a mesmerizing feel with an underlying tension.
“IF I WERE KING”
This is a song about guilt. A soldier who lost his friend in a
firefight and spent a lot of time afterwards struggling with his
feelings, wishing he could have done more to save his friend. The song
is saying if I were king, if I could do anything, I’d have you back in
my life again, back by my side. I thought that was a very interesting
and inspiring viewpoint.
“MAN DOWN!”
This was a bizarre story to me. It’s about a soldier who came back
from his tour of duty and felt like he couldn’t connect and fit
comfortably back into civilian life. He felt like he could not stay in
one place. He had to keep moving. So he bought a car, packed
everything he had into it, and spent six years driving across the
country, back and forth and up and down. That struck me as very David
Lynch-like.
The military has an expression, “Man Down,” which identifies an
injured soldier and is a call to organize a rescue. To me, this
soldier was injured, in need of rescue because he didn’t have the
tools to handle his emotions. There are a couple of lines in it that
are taken from his description of his never-ending road trip. “The
Cavalry of God” was a tour bus painted with religious slogans carrying
pilgrims and gospel singers
“REMEMBER ME”
One of the soldiers was telling me about his experience with his wife.
He had been married very young, at 19, and the stress of being away
from each other and in a very dangerous situation, as well as the age
factor, made the relationship one that didn’t last. That seemed to be
a common thread with a lot of the people I talked to.
“HOME AGAIN”
There is a lot of emotion attached to this song. The whole idea of
separation between loved ones is one of my favorite topics, perhaps
because I live and breathe it being away from my kids and my wife
while touring. You miss them so much, and it’s like you live two
separate lives. When you’re a soldier and you’re away, it’s very
difficult to bridge those two worlds.
This song is inspired by a series of letters. The correspondence was
between a soldier/father and his young daughter back at home. He was
laughing about how he thought it was really cute to him that in the
letters, they were both saying the same things and even using the same
terminology. Those kinds of coincidences really get to me. Because it
was a father-daughter relationship, I asked my daughter Emily, who is
ten years old, to sing the song with me. She did a wonderful
performance, so innocent. I’d never shared a lead vocal with one of my
kids before and emotionally; it was one of the toughest songs for me
to sing on the record.
“THE VOICE”
The song opens with my father talking. All my life I’d been waiting
for him to open up and talk about his experiences in Korea and
Vietnam. Now in his seventies, he finally did and it was my
inspiration for this record, so it only seemed natural to have his
voice on it.
Several of the soldiers I interviewed talked about being injured,
being on the edge of death and being brought back. That kind of
situation is always interesting to me, hearing what they felt, what
they saw, and what happened. Some people see a light and others hear
voices, and that is what this song is about, the voice you hear in
your head. From what I gather, there’s quite a struggle for people at
that point. Some people say they’re ready to go, and others will kick,
scream and claw, clinging to life with all their strength. “Don’t be
afraid” is a very powerful phrase that we all grow up with. Our
parents constantly tell us, “Don’t be afraid.” I think that if you
were lying there badly wounded, the voices you’d hear in your head are
your parents’, saying “Don’t be afraid.” Or … maybe it’s God.

 Track-by-Track with Geoff Tate
beh, non ho capito tutto tutto, ma sicuramente è decisamente meglio del 
solito "è il migliore disco che abbiamo mai fatto" che usano tutti. Si vede 
che ci crede...
Hail
Lupo

 che ci crede...
Visto che ci siamo, aggiungo: questa recensione
http://www.fretplay.com/reviews-2/36-queensryche-american-soldier-cd
che dice "The only negative about the album and the band is that they
sound a little too much like Iron Maiden." (!!! - però in "Man down!"
qualcosa dei Maiden in effetti ci sento).
Gianluca

 qualcosa dei Maiden in effetti ci sento).
riminiscenze warningiane? :)
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