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Don Kaye

ENCARTE: OBITUARY

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Rabeira de release por Don Kaye na versão remasterizada (1998) de meu “World Demise” (1994):

“WORLD DEMISE was also a bittersweet album in a way, since it marked Obituary‘s final effort at Morrisound Studios with producer Scott Burns, who had guided the band’s projects ever since their first full-fledged eight-track recordings became their debut album, SLOWLY WE ROT. Given an increased budget and his own expanding abilities, Burns worked diligently on finding new and unique ways to record the Obies, as they were affectionately known in the UK press. ‘This was Scott’s last, and definiely best, album with us’, reflects Tardy. ‘If I was somebody who had never heard any death metal before and had to compare the first four albuns, I think WORLD DEMISE would be the best-sounding album’.

This new, remastered version of WORLD DEMISE comes complete with a clutch of bonus tracks, including the rare “Killing Victims Found”, recorded during the sessions but only avaiable until now on the limited DON’T CARE ep in the U.S. and the WORLD DEMISE digipack cd in Europe, and three live tracks – “Infected”, “Godly Beings”, and “Body Bag” recorded at the 1992 Dynamo Festival in Holland, Obituary‘s first and, so far, only appearance at the legendary metal event. ‘It was a great show for us, because there were 30,000 people there and the majority of them were death metal fans. The live tracks added to this álbum from that show are straight from the soundboard, kind of dry and not the greatest mix, but that’s what sort of makes it cool’.  

And in keeping with the exploratory nature of WORLD DEMISE, Don Tardy says there’s one final piece of the album’s history that remains in the shadows. ‘Super Brian was really into doing dance remixes of heavy songs, and he did a House mix of “Boiling Point” that was really cool. It was very industrial sounding, with a full-on dance beat. But I never got a copy of it, we never used it, and now I can’t get in touch with Super Brian and get a copy from him. That’s something that I’d like to dig up and release one day, so the kids can hear it and say, ‘what the hell is going on here?” ”

 

PS: o tal Super Brian citado era um assistente de estúdio de Scott Burns

ENCARTE: ACCEPT

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Trecho de texto de Don Kaye na versão remasterizada de meu “Balls to the Wall” (1983):

“Lyrically, Accept bypassed the standard ‘let’s party’ shoutouts for an altogether more provocative poetry that tackled politics on a sexual, social, and global level. The title track alone was a paean for the rights of the oppressed and a call for revolution a decade before political consciousness would seep into the songs of hard rock acts like Rage Against the Machine and System Of A Down. But Balls to the Wall was an attention-getter in other, unexpected ways as well. From its controversial cover art to songs like ‘London Leatherboys’ and ‘Love Child’, in which Dirkschneider sings about ‘feeling the power of lust as the guy’s passing by’, the band raised eyebrows everywhere with a lyrical viewpoint about sex that strayed outside the usual metal ortodoxy.

Adding fuel to the fire was the mystery surrounding the identity of Deaffy, who wrote the lyrics for this and every Accept album that followed. It was later revealed that Deaffy was the pseudonym of Accept manager Gaby Hauke, one of the first female managers in the business and handler of Accept’s affairs for twenty years. The band’s fearlesness in utilizing such an unusual approach – which at the time led to widely circulated rumors that Accept was a ‘gay metal’ band – earns them even more respect in a genre that, unfortunately, was not always known for its open-mindedness“.