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    Prepare yourself for a gripping, exhilarating ride on January 9th, 2006. On that date, DragonForce release their hotly awaited third album, ‘Inhuman Rampage’. The title is an apt summation of a devastating musical journey, an unstoppable force that the six-man group’s forthcoming tour of duty will leave devastated cities in its wake. Combing the primal force of power metal with hard-earned musical proficiency, old-school thrash and generous quantities of muscular melody in a unique style that they call ‘extreme power metal’, DragonForce have established themselves as THE heavy metal band of the past year.

    The summer of 2005 saw them sharing festival stages with Iron Maiden, a sell-out headlining tour of the UK generating scenes of pandemonium. Intensive bouts of touring to accompany the band’s two albums to date – ‘Valley Of The Damned’ in January 2003 and the following year’s ‘Sonic Firestorm’ – has seen their fan-base escalate in quite dramatic terms. Meanwhile, the European metal press have swamped the band with almost universal reams of adulation. “DragonForce are getting bigger. Prepare for the onslaught,” Kerrang! warned. "DragonForce are as metal as f**k,” roared the UK’s Metal Hammer, “They’ll be enormous.” Writers and magazines from France, Greece, Finland, Sweden, Holland, Japan and many more wasted little time in falling under the band’s spell. Perhaps the best summation of all these accolades was Rock Hard (Germany)’s prediction that: “DragonForce could become the first British metal band in ages to reap respect from all over the world.”

    Against all the odds, DragonForce have single-handedly revitalised power metal in their homeland of the UK, awarding credibility to a genre that till their arrival was regarded was little more than a joke.
    Clearly, plenty rides on ‘Inhuman Rampage’. However, instead of resorting to panic and watering down the style of music that secured such a position of prominence, DragonForce have gone further over the top than ever before. The new album is faster, bolder and heavier – yet still as boldly stirring and distinctly hummable – as anything they’ve attempted so far.

    “We’ve come up with the ultimate formula,” proudly declares Herman Li, one half of the band’s unstoppable guitar army. “Combining intensity, chaos and melody, with all the DragonForce trademarks, it’s something that’s never been done before. “For us, this is the next evolution in the DragonForce sound,” he continues. “I’ve never heard an album that sounds like ‘Inhuman Rampage’ – the title says it all! It's seriously gonna blow some heads off around the world during the next year.”

    The eight-song album was recorded at Thin Ice Studios in Surrey and guitarist Herman Li's own studio in West London, some of its guitar sections recorded in hotel rooms while the band wound up the tour for ‘Sonic Firestorm’.
    Track titles like ‘Through The Fire And Flames’, ‘Operation Ground And Pound’, ‘Revolution Deathsquad’ and ‘Storming The Burning Fields’ leave the listener in no doubt of DragonForce’s malicious intent, and more importantly their aversion to climbing the ladder of popularity by selling out. Winner of the Dimebag Darrell Best Young Guitarist award at Metal Hammer UK’s Golden Gods, Li and his six-string partner in crime Sam Totman have never sounded hungrier nor eager to prove their worth. From the start of each song to its exhausted finish, notes fly from all angles.
    The album ends with its sole ballad, ‘The Trail Of Broken Hearts’, though as Totman quite rightly points out: “We still managed to squeeze three separate guitar solos in.”However, shredding for shredding’s sake has never been among the band’s intentions.Although keen to squeeze as many notes as possible into certain songs, this time the pair has experimented with various new textures and sounds.

    “We wanted to keep things interesting, and there are sections of certain songs that will remind you of video games,” grins Hong Kong-born Li. “Many people will hear them and assume they were made by keyboards. That’s completely wrong. All those parts are done on the guitar.”

    Which isn’t intended to under-value the superlative contribution of Vadim Pruzhanov, who co-wrote several of the album’s songs (including ‘Body Breakdown’), is credited along with Li and Totman as a co-producer and whose dazzling keyboard runs are as daring and provocative as anything performed on guitar frets. A Ukrainian by birth, Pruzhanov is fast becoming known for lengthy and insane solo excursions during the band’s live shows and has really come into his own on ‘Inhuman Rampage’. On the other hand, vocalist ZP Theart is already regarded as the glimmering pearl in DragonForce’s crown. Far too many European power metal acts are faced up by singers with the merest grasp of English diction. South African-born, Theart is the real deal – a stomping, roaring, beer-swilling frontman who fronts the band with passion and wit.

    Alongside Li and Totman, Theart was a co-founder of DragonForce. The trio met in London in September 1999, using the name DragonHeart for their initial two years of existence. Quick to realise the possibilities of the internet, the band posted a set of demos at their website (www.dragonforce.com) and were rewarded not only by half a million downloads, but the interest of Sanctuary/Noise Records.

    Early support UK spots with Halford and Stratovarius, plus the timely recruitment of a superior rhythm section moulded a professionalism to match their commitment, and before too long the group were placed on the launching pad of international success. The sextet toured Europe, South East Asia and the Far East to promote the debut album, and before too long, critics were queuing up to praise DragonForce’s fusion of modern melodic power metal, the energy of speed metal and the confident, in-your-face delivery of bands twice their age.

    From day one, the band’s goal was to establish an identifiable style all of their own. To an outsider, the lyrics may seem to tell otherworldly tales of sword-wielding warriors occupying distant battlefield plains, but strip away the fantasy imagery and a message of modern-day positivity is right there beneath your nose. But most of all, DragonForce’s success is attributable to playing ability and perhaps their most under-played asset of all – a skill for composing ultra-memorable, rabble-rousing heavy metal anthems. ‘Inhuman Rampage’ offers indisputable proof.

    DragonForce Line-up
    ZP Theart – Lead and backing vocals
    Herman Li – Lead and rhythm guitars, backing vocals
    Sam Totman – Lead and rhythm electric guitars, backing vocals
    Vadim Pruzhanov – Keyboards, Piano, backing vocals
    Dave Mackintosh – Drums, backing vocals



    The Bon Jovi story began in Sayreville, New Jersey. Where Jon and his brothers Matt and Tony were raised by they parents Carol and John Bongiovi (Jon later changed his name). By his early teens, Jon was hanging out at local clubs, convinced that one day he would be a rock star.

    The area's local music scene was rocking then and there, with the music of rising stars Bruce Springsteen and Southside Johnny and the Asbury Jukes leading the pack. "Just like Seattle is hot right now, 20 years ago it was Asbury Park, New Jersey", Jon told writer Rick Petreycik. "That was so close to my backyard, and when you're 13 or 14, or 15 years old, you can't help but hear about it and have it affect you. When you went down to Asbury Park, what was the crummy boardwalk became Americana. What was splintered wood became sacred ground, and you went, 'Ooh, aah'. And those things romanticized the idea, The myth became the legend, and one thing led to another, and I think blind faith is what got me here." That, and a little help from his friends.

    By the time he was 16, Jon was playing clubs. It was not long before he hooked up with keyboardist David Bryan (real name: David Brian Rashbaum), who played with him in a ten-piece rhythm and blues band called Atlantic City Expressway. Jon also performed with bands called The Rest, The Lechers and John Bongiovi and the Wild Ones.

    Meanwhile, Richie Sambora was also performing locally with a funk and fusion outfit called Extremes, before hooking up with Alec John Such in the band The Message. After The Message broke up, Alec played with Tico Torres in Phantom's Opera.

    The members of Bon Jovi hade crossed paths in these early days, but the current lineup didn't come together until March of 1983 after th first Bon Jovi single, "Runaway," had become a minor hit.

    In one of those right place/right time/right person scenarios, Jon managed to get a job sweeping floors at a recording studio through a relative. His second cousin, Tony Bongiovi, was a co-owner of the power station in New York City. Jon had written "Runaway," and in 1980, he recorded a demo of the song at his cousin's studio, with back-up by studio musicians whom Tony had hired, including Frankie La Roca, Tim Pierce, Hugh McDonald and Roy Bittan.

    A local radio station included "Runaway" on a compilation tape, and the song started getting some serious airplay. The success of "Runaway" got Jon noticed, and he realized that he'd need more than session players if he wanted to capitalize on his success by touring the New York clubs to support the single.

    Jon gave Dave a call, who in turn tapped Alec and Tico. A succession of guitarists (including Dave "The Snake" Sabo, who went on to form Skid Row) followed, until finally Richie signed on, and the band came together as a whole. They began gigging around New York in earnest.

    At one show, where they opened for Scandal, the band caught the attention of record exec Derek Shulman, who signed them to PolyGram. "With Jon, I felt he had an unbelievable desire to be a star", recalls Shulman. "he had a burning desire to be huge".

    PolyGram toyed with the name, throwing out monikers like "Victor" then "Johnny Lightening", before Shulman anglicized John Bongiovi's name to Bon Jovi.

    Their self-titled debut came out January 21, 1984. Filled with the group's now-signature power ballads and hooked-filled tunes underscored by soaring guitar riffs and well-crafted melodies, the album went gold (sales of over 500,000).

    The album was a rugged soulful collection of songs about how tough it is being a teenager. Buoeyed by the renewed sucess of "Runaway", and backed by the follow-up single "She Don't Know Me".

    Bon Jovi releasead their follow-up album, 7800 Farenheit, in April 1985 wich included the hit singles "Only Lonely" and "Silent Night", it sold equally to its predecesor.

    Tours opening for the Scorpions, Kiss and Judas Priest had helped Bon jovi build up a considerable fan base which appreciated the band's anthemic songs and powerful stage presence. Clearly, Bon Jovi was poised on the edge of greatness.

    Slippery When Wet, the band's third album, provided the break-trough. Powered by songs like "Livin' on a Prayer" and "Wanted Dead or Alive", the LP went gold and platinum simultaneously within six weeks of its six weeks of its release. By April of 1987, Slippery When Wet had sold seven million copies.

    The world ate and slept Bon Jovi, they won the American Music Award and People's Choice Awards as Band Of The Year, MTV gave Bon Jovi a Best Performance Award for the video "Livin' on a Prayer".

    Jon was asked what all this astronomical success meant, to which he answered, "Everything is bigger, and it moves twice as fast. You're recognized twice as often. This is bigger, the whole world gets bigger. You have to sell more records, be huger. You get smarter and you understand the business a little more, so it's more responsability. You understand it now, and you want to make sure everything goes right".

    Instead of traveling by bus, Bon Jovi went from gig to gig in a luxuriously converted Grumman G-I jet. By the time the Slippery Tour finished in Hawaii on October 17, 1987, the album had sold in excess of 14 million copies, putting it in the same league af astronomical successes as Thriller by Michael Jackson.


    Vanessa-Mae Instrumen Violin

    Born Vanessa-Mae Vanakorn on October 27, 1978, in Singapore; daughter of Pamela Soei Luang (Tan) Nicholson; adopted daughter of Graham Nicholson. Education: studied with Lin Yao Ji of Beijing, in the Yankelevich violin method.

    Prodigious violinist Vanessa-Mae Nicholson performed with the London Philharmonic at age ten before attending the Royal College of Music in London. By age 14, she had released three CDs and signed a contract with a major recording company. Even as an adolescent she was uniquely adept in her ability to alternate between performing classical selections on an eighteenth-century acoustical violin and playing modern music on a high-tech electric jazz model violin. Vanessa-Mae has called her musical style "techno-acoustic fusion."

    Vanessa-Mae was born Vanessa-Mae Vanakorn in Singapore on October 27, 1978, and growing up took inspiration from the fact that she shared the same birth date as Italian violinist Niccolo Paganini, though born 196 years after the famed musician. Although her parentsdivorced when she was very young, her mother remarried soon after, to Graham Nicholson, anattorney and a member of England's distinguished Freshfields law firm. Graham Nicholson adopted the budding violinist as his own daughter, and moved the family to England whenVanessa-Mae was four years old. She grew up in London, and it was Great Britain that provided her a national identity.

    Vanessa-Mae played the piano as a toddler and began to study the violin at age five. She was only eight years old when she traveled to Beijing to study with Lin Yao Ji in the Yankelevich violin method. Vanessa-Mae finished the Yankelevich course, a two-year curriculum, in a brief six months. By the time she returned home she had made a decision to play the violin professionally. As Vanessa-Mae embarked on her quest, she was encouraged and assisted by he rmother, Pamela Soei Luang (Tan) Nicholson, the owner of a private recording label and music agency. A musician in her own right, Pamela Nicholson was a semi-professional concert pianist,who on occasion accompanied her daughter's violin playing.

    Young Vanessa-Mae made a formal concert debut as a soloist with the London Philharmonic at age ten, but it was not until one year after her concert debut that she enrolled at the Royal College of Music in London, where she studied with Felix Andrievsky. Vanessa-Mae attended Francis Holland girls' school for a liberal education, but soon dropped out of the school in order to devote more time to her musical studies and her career. Vanessa-Mae by that time was already a veteran of the recording studio, having released three albums on her mother's personal record label. Vanessa-Mae distinguished herself with her very first recordings, renditions of violin concertos by Tchaikovsky and Beethoven. She was the youngest artist to ever record those compositions. By age 14, she was an accomplished professional, having completed her first international tour as a featured soloist with the London Mozart Players. She then signed a recording contract with EMI Records. During those years, despite the demands of her career, she continued her traditional school curriculum under the guidance of private tutors.

    Vanessa-Mae, who loved classical music as a child, was nevertheless enthralled by Michael Jackson and other popular artists of her generation. When she signed with EMI she retained the right to control her performance content, in order to accommodate her diverse musical interests. She refused to limit her selections to classical compositions exclusively. Instead she embarked on a career of crossover techno-fusion musical styles. At that time, under the artistic direction of producer Mel Bush, she emerged with a new visual image as an ingenue more mature, and in abject contrast from the little girl persona of her earlier public performances. She then set out on her first tour of the United Kingdom, performing in her own style: Shostakovich in tandem with popular music, including selections by The Artist Formerly Known as Prince. She also appeared as a solo artist at the Royal Festival Hall that year. Vanessa-Mae released her first EMI album, The Violin Player, at age 16. The album it hit number eleven on the British charts and sold over two million copies. One selection from the album, "Toccata and Fugue in D Minor," became a hit single for Vanessa-Mae and remained on the top 40 charts for several weeks.

    As a teen-ager performing in a grown-up arena, Vanessa-Mae's talent was frequently overshadowed by her youthful, seemingly suggestive wardrobe, as well as by certain choreography that she performed while playing her violin during her performances and in rock-video style recordings. The visual images of Vanessa-Mae's performances, in fact, generated considerable controversy and raised eyebrows. Many critics labeled her style assexually aggressive. Cries of exploitation accompanied the release of her now-famous wet T-shirt video that was made when the violinist was 15 years old. In the controversial video,Vanessa-Mae emerged from the Mediterranean Sea in a soaking wet white sheath gown, so lightweight that it was barely visible. Some observers suggested that the performance approached being pornographic. Vanessa-Mae responded to the critics and assured the public that she had complete artistic control over her own image. She defended her video to the press with cool articulation. She reiterated that she maintained a presence in the cutting room when the tape was finalized, and that she had total control over the images that were released in the finished product. She further asserted that she enjoyed creating the video and noted that classical divas traditionally perform in provocative gowns. Vanessa-Mae was quoted by Scot Duncan of the Orange Country Register as saying, "Let's face it, I go into the classical department of record stores and I see a lot of grown women in low-cut gowns and flaunty dresses."

    Vanessa-Mae celebrated the release of her first album on the EMI label with a promotionaldebut tour of the United States. Among her many tour stops was an appearance on the Tonight Show, as well as stops at Chicago's Wrigley Field and Comiskey Park during the 1995 World Series play offs to perform the national anthem. Vanessa-Mae's style is unusual and unpredictable, and for many of her fans, the highlight of her 1995 tour was a memorable concert at New York City's Times Square. During the finale of the concert, Vanessa-Mae leaped onto the roof of a taxicab without missing a note on her violin. On another occasion early in 1997,Vanessa-Mae performed at St. Moritz, where she arrived in a hang-glider.

    Musically Vanessa-Mae is equally unpredictable, often juxtaposing incongruous styles. When she performed a unique arrangement of the Scottish air, "I'm a Doun for Lack of Johnny,"she featured African drums in the background. Her recording of that particular composition, under the title "Scottish Fantasy," came to typify the eclectic quality that characterized many of her selections. Vanessa-Mae's versatile style made it necessary for her to learn to perform on more than one instrument. For purely classical selections, she bows on a Guadagnini violin thatdates back to 1761, a gift that she received when she was ten years old. For her unique techno-fusion adaptations of classic and popular compositions, she employs a MIDI configuration on an angular white electric violin. Her repertoire varies from Brahms, Paganini, Kreisler and Ravel, to syncopated upbeat rhythms.

    Vanessa-Mae made her first formal concert tour of the United States in 1996 at age 18. Her mother provided piano accompaniment for some of the performances. Later that summer, Vanessa-Mae performed at a reunification concert in Hong Kong, where she offered a rendition of "Happy Valley the Reunification Overture," a composition of her own creation. She performed at a conference of economic ministers in France that same year, and in 1998 she performed at Buckingham Palace, to an assembly of heads of state who were in attendance at an Asia-Europe Meeting. Her performance at the Royal Albert Hall was well received.

    Vanessa-Mae enjoys entertaining, and she embellished her 1998 album Storm with her own singing. She contemplates the possibility of a second career as a supermodel. Indeed she is easy to recognize and possesses striking, exotic features inherited from her Chinese mother and Thai father. She loves to read and plans to attend a university; she has a number of interests that she hopes to pursue academically. Until she finalizes her future plans, Vanessa-Mae hopes to maintain a busy schedule, perform continually, and tour often. She tenaciously guards her privacy when dealing with the press.

    Vanessa-Mae's Career

    Released three CDs on her mother's private recording label; performed with the London Philharmonic at age ten; international tour as a featured soloist with the London Mozart Players at age eleven; signed with EMI Records at age 14; released first album with EMI in 1995; promotional tour of U.S. in 1996; concert tour 1998.


    Ada kalanya kita ribet sama SEO n traffic tapi skarang ada solusinya

    ------------copy dari sini--------------

    Mohon baca baik-baik lalu terapkan dengan benar....

    Sebuah filosofi mengatakan "Honesty is The Best Policy (Kejujuran adalah politik/strategi terbaik)" , inilah yang akan kita buktikan....apakah konsep kejujuran bisa kita olah menghasilkan traffic dan popularity yang lebih hebat dari konsep rumit para expert webmaster atau pakar SEO..?...
    Saya yakin bisa asal konsep ini di jalankan dengan benar...,bila ini di terapkan pada web anda sesuai ketentuan maka:
    -Web anda akan kebanjiran traffic pengunjung secara luar biasa hari demi hari, tanpa perlu repot-repot memikirkan SEO atau capek-capek promosi keberbagai tempat di dunia internet.
    -Web anda akan kebanjiran backlink secara luarbiasa hari demi hari, tanpa perlu repot-repot berburu link keberbagai tempat di dunia internet.

    Jika Albert Einstein memakai persamaan e=mc2 untuk menggabungkan potensi masa dan kecepatan cahaya untuk menghasilkan energi nuklir yang luar biasa itu ,maka kita akan memakai persamaan t=v1+v2 untuk mnggabungkan potensi web saya dan web anda untuk menghasilkan traffic dan popularity yang luar biasa pula.

    Jika Einstein menggunakan atom plutonium dan uranium untuk membuat bom nuklir, maka kita menggunakan Kejujuran dan ketepatan untuk membuat bom traffic dan popularity ini.

    Yang perlu anda lakukan adalah ikuti langkah-langkah berikut :

    1.Buat posting artikel seperti posting saya ini, atau copy-paste posting ini dan juga diberi berjudul : t=v1+v2 ,Cara meningkatkan traffic dan popularity dengan cepat dan alami
    2-Selanjutnya Copy atau buat KALIMAT SAKTI yang ada di bawah nomor 4 ini lalu pasang di web anda pada bagian yang paling mudah dilihat pengunjung, misalnya di bagian atas sidebar:
    3-Pindahkan atau ganti link atau alamat url posting saya (disini-1) menggantikan alamat url rekan saya (disini-2).
    -untuk mengetahui alamat url posting saya dan posting yang anda buat adalah bisa dengan meng-klik judul/title posting yang kita buat ini.
    4-Lalu isi alamat url posting anda pada pada disini-1 tadi. Jadi anda melakukan publish (terbitkan) 2 kali, setelah posting ini selesai anda buat lalu di terbitkan, dan lalu anda klik pada title (judul) posting untuk mengambbil/meng-copy alamat url posting anda dari address bar browser anda, lalu anda edit lagi posting tadi dan masukan pada link disini-1 itu.

    Berikut tulisan "KALIMAT SAKTI" yang perlu anda pasang di bagian web anda (setelah di ganti link url-nya sesuai ketentuan di atas)

    "Ingin meningkatkan traffic pengunjung dan popularity web anda secara cepat dan tak terbatas...?...
    Serahkan pada saya..., Saya akan melakukannya untuk anda GRATIS...!..Klik disini-1 dan disini-2"
    -Jadi setelah KALIMAT SAKTI ini di letakan di web anda maka: jika pengunjung meng-klik link disini-1 akan menuju link posting anda, dan jika meng-klik disini-2 akan menuju link posting saya...dan seterusnya kan terus terjadi mata rantai yang tak terputus seperti itu...
    5-Di bawah ini ada 2 link :link anda (link web saya sekarang) dan link saya (link web rekan saya sekarang) . Maka ganti (alamatnya) "link anda" dengan "link url web anda" dan "link saya dengan link url web saya" (link rekan saya di hapus).
    link anda
    link saya

    5-Selesai, siapkan counter tracker dan pengecek link misalnya sitemeter dan technorati untuk melihat hasil banjir traffic dan linkback web anda.

    Apa itu t=v1+t2...?
    t : Jumlah traffic yang akan di peroleh web anda dalam suatu hari
    v1 : Jumlah pengunjung web anda dalam suatu hari
    v2: Jumlah pengunjung yang dimiliki v1 (pengunjung dari pengunjung web anda) dalam suatu hari.

    Misalnya, web saya ini atau web anda dalam sehari memiliki rata-rata pengunjung 50 orang.., dan semuanya menerapkan konsep kita ini (KALIMAT SAKTI) dengan benar, dan dari 50 orang itu masing-masing memiliki 50 orang pula pengunjung dari blog-nya , maka web kita akan berpeluang di kunjungi 50 ditambah 50 x 50 orang pada hari itu = 2550 orang , dan akan berpeluang terus meningkat pula hari demi hari ,karena setiap hari selalu ada pengunjung baru di dunia internet, setiap hari juga ada blogger atau web baru di dunia internet...BUKTIKAN

    Misalnya, web kita memiliki pengunjung 50 orang dalam suatu hari, dan semuannya menerapkan konsep ini , maka dalam hari itu web anda akan mendapatkan 100 linkback ke web anda, yaitu sebuah link pada KALIMAT SAKTI dan sebuah link pada link saya di kalikan 50. dan akan berpeluang meningkat terus hari demi hari....

    Kenapa perlu di buat link link anda dan link saya pada posting...?
    ...hal ini untuk menjaga keabadian link kita, karena seperti kita tau link pada posting lebih kecil kemungkinannya terhapus....

    Bisakah kita berbuat tidak fair atau tidak jujur menyabotase konsep ini, misalnya "menghilangkan semua link asal" lalu di isi dengan web/blog kita sendiri...? ....Bisa, dan konsep ini tidak akan menjadi maksimal untuk membuktikan Kejujuran adalah strategi/politik terbaik.....Tapi saya yakin bahwa kita semua tak ingin menjatuhkan kredibilitas diri sendiri dengan melakukan tindakan murahan seperti itu...


    silahkan dicoba sebagai pembuktian



    Kitaro was born in 1953 as Masanori Takahashi in Toyohashi, Japan. In Highschool he loved Soul and Rhythm & Blues. He learned playing E-Guitar and performed with his band "Albatross" on parties and in clubs. His biggest influence in this time was Otis Redding. "Rhythm and blues has a kind of depth, emotions how can I say it? The audience feels something like same kind of emotions from my music. My music is not rhythm and blues, but it feels like soul.".

    His nickname Kitaro was given to him by friends after the main character from the japanese cartoon television series "Ge Ge Ge no Kitaro".

    In the early '70s he changed completely to keyboards. He joined the band "Far East Family Band" and toured with them around the world. In Europe he met the german synthesizer musician and Tangerine Dream-cofounder Klaus Schulze. Schulze produced two albums for the band and expanded Kitaro's knowledge of synthesizers.

    A quotation from Kitaro gives us his view on synthesizers: "With a synthesizer I could create an ocean, a winter coastline, a summer beach, a whole scene."

    In 1976 Kitaro left the "Far East Family Band" and made a long trip throught asia, visiting countries like Laos, China and Thailand. In India he lived for about 6 months in Poona at the (at that time) famous ashram of Bhagwan Shree Rajneesh.

    Back in Japan Kitaro started his solo career in 1977. The first two albums Ten Kai and From the Full Moon Story became cult favorites of fans of the nascent New Age movement. But it was his famous Soundtrack for the NHK series "Silk Road" which brought him the international attention.

    He struck a worldwide distribution arrangement with Geffen Records in 1986; in 1987 he collaborated with different musicians, e.g. with Micky Hart (Grateful Dead) and Jon Andersen (Yes) and his record sales soared to 10 million worldwide.

    In 1994 he won the Golden Globe Award for his soundtrack for Oliver Stones movie "Heaven & Earth". He was also nominated several times for a Grammy in the category New Age (which he won in 2001 for his album Thinking of You).

    Kitaro is a star, but he is very modest. "Nature inspires me. I am only a messenger", he said. "To me, some songs are like clouds, some are like water". Since 1983 his reverence for nature leads Kitaro to annually give thanks to Mother Nature in a special "concert" on Mount Fuji or near his house in Colorado: on the day of August full moon he beats on the Taiko drum from dusk to dawn. Frequently his hands become bloodied, but he continues to pound.

    From 1983 till 1990 he was married with his first wife Yuki (they have a son, Ryunosuke, who lives in Japan). They separated because Kitaro worked most time in the United States while she lived and worked in Japan. In the middle of the 90ths Kitaro married Keiko Matsubara, a musician who already played on several of his albums. With her and her son Kitaro lived in Ward, a little town outside Boulder/Colorado (USA) on a 180-acre spread in a big house with his own studio, called "Mochi House". Latest information say that Kitaro and Keiko recently moved to Occidental, a small town north of San Francisco (North California).


    Masjid Agung Al-Fatah Mojokerto

    Suasana Jogging Track/ JT malam hari

     Area Jogging Track ato disingkat JT

    Pinggiran sungai Brantas area JT

    Aloon-aloon kota Mojokerto

    Mojokerto, dikota inilah aku dilahirkan dan dibesarkan, namun kini aku tinggalkan namun aku berharap akan kembali kekota tercinta ini, dimana kedamaian dan ketentraman aku dapatkan, Mojokerto adalah kota penuh dengan sejarah, dahulu Mojokerto adalah pusat Ibu kota kerajaan Majapahit dimana kerajaan ini pernah berkuasa dari tanah Jawa sampai Madagaskar Afrika, sampai saat ini peninggalan kerajaan Majapahit masih bisa dinikmati dan keagungannya masih terasa.

    Ada satu taman ditengah kota yang selalu aku kunjungi tiap aku pulang, yang dikenal dengan nama aloon-aloon kota Mojokerto yang berdekatan dengan Masjid Agung Al Fatah, taman ini setiap pagi dimanfaatkan oleh para siswa-siswi untuk mengikuti pelajaran olah raga maupun Pramuka, adapun jika sore hari dipakai oleh penduduk setempat untuk bermain sepak bola dan jika sudah malam selepas maghrib digunakan untuk para pedagang, dari makanan, pakaian, jajanan, dan masih banyak lagi.

    Satu lagi tempat tongkrongan asyik di kota Mojokerto yaitu Kawasan Sungai Brantas Indah dan Jogging Track disini jika malam adalah pusat jajanan kota Mojokerto, oke sampai sini cerita dari kota kelahiranku Mojokerto.




    In the 20th century, only the automobile rivaled the guitar as an American icon of personal freedom, expression, and rebellion. The explosion is more owed to the electric models, though acoustic guitars traveled the pre-war countryside and established blues and country music traditions.


    Ya kurang lebih begitulah dimana musik kadang bikin kita terbuai, bahkan ikut larut dalam mendendangkannya, saya sendiri terkadang tanpa sadar ikut menyanyi walau sedang jaga warnet, gak peduli da user, yang penting asyik. Apalagi kalo gak da boz wah puter Mp3 kenceng2, saya paling demen denger musik yg sekelas Nirvana, Mr. Big sampe Santana juga Metallica tapi muternya kalo siang aja, kalo malem ganti aliran kaya' Scorpion, ya yg agak slow2 gitu.

    Meski saya sendiri gak ngerti bahasanya, tapi kayaknya asyik aja dengernya terkadang juga puter instrumen, kelasnya Joe Satriani, Kitaro, ato violinnya Vanessa Mae. Dibanding dengerin musik negara sendiri kayaknya gimana ya?, enggak tahu kenapa saya kurang minat terhadap karya anak bangsa padahal bagus2, tapi kalo soal permainan gitarnya, nah disini letak yang saya kurang minati, namun ada beberapa grup band Indonesia yang bikin saya ketagihan dengernya, seperti Slank, Padi, So7, Gigi, dan Dewa.

    Ada beberapa lagu yang bisa anda download dari saya, juga saya sediakan video lucu koleksi saya berikut ini saya lampirkan silahkan di ambil gratis kok hehehehehehe.........






    It’s not always recognized in today’s “I want it all now” world, but patience is a virtue. And Huntington Beach, California rockers Avenged Sevenfold are being rewarded for remembering that golden rule. After releasing two highly successful albums on an indie label (Sounding The Seventh Trumpet and Waking The Fallen), the quintet is set to unleash its major label debut, City Of Evil, on Warner Bros. Records. City Of Evil, co-produced by Avenged Sevenfold, reunites the group with producer Mudrock (Waking The Fall). 

    “We’re at the point now where we’ve come into our own,” vocalist M. Shadows says of the ambitious City Of Evil, an 11-song collection that gives a middle finger to the idea of categorization, bridging the sonic guitar assault of Iron Maiden with the frenetic pace of Bad Religion and the musicianship of Dream Theater. “In Southern California you’re really brought up in the whole punk world. At the same time, we were growing up listening to Pantera, Megadeath, Metallica and Slayer records,” Shadows recalls. “So then you think, ‘I want to play in that kind of band, but I want to play in this kind of band.’ Then you pass that point and all of a sudden you’re just writing music and it comes out naturally. But that’s what happens cause of all the different influences we have. And we’re definitely not afraid to put anything in our songs if we think it calls for it.” 

    Yes, Avenged Sevenfold can rock, as the band recently did at a sold-out show at Hollywood’s Music Box Theater, where they turned the intensity of the new tunes up from 11 to about a 20, but these are musicians as well. However, as the group evidenced during the orchestral interlude in “The Wicked End,” a perfect metal moment live complemented by a boys choir and 14-piece string section, Avenged Sevenfold, in the tradition of Zeppelin, Queen, and Guns ‘N’ Roses’ “November Rain,” meld their intensity with a musical daring their hard rock forefathers would be proud of. 

    Those looking primarily for a cathartic release live, as so many of the kids moshing their brains out at the Music Box were, need only turn to the ferocious energy of “Bat Country,” a song written for Hunter S. Thompson about the band’s own adventures in Vegas, and the Maiden-esque guitar and Shadows’ perfect caterwaul of the line “city of evil” (where the album’s title stems from) in the opening “Beast & The Harlot.”


    "Mr.Big got their start when William Roland Sheean (Billy) stepped away from David Lee Roth's first post-Van Halen band, after contributing to two albums and numerous major tours. The Buffalo, New York-born bassist had already honed his considerable skills during a decade spent touring with his band, Talas, but with the recruitment of Martin (Eric) in 1988, he knew the foundation for this ultimate musical venture was well in place. Martin (who was born in Long Island, New York, but grew up all over the world as an Army brat) had already ventured into the light, both with melodic rock-oriented Eric Martin Band, and as a more soul-leaning solo artist. 

    Growing up on U.S. military bases across Europe, the young Martin was introduced to the sounds of Otis Redding and Wilson Pickett. Such influences never ceased to define and motivate his musical pursuits - in his three previous albums, and shaping the character of Mr.Big. The group was made complete with talents of guitarist Gilbert and drummer Torpey. Hailing from Pittsburgh, Gilbert was already a well-respected guitarist who had released four highly-touted albums with his Los Angeles-based band, Racer X. Torpey came to California after playing his dues behind the kit in the Arizona rock community. He soon became a much sought-after road horse, touring with a number of high-profile artists, most notably Robert Plant. 

    Mr Big first broke ground in 1989 with their self-titled Atlantic Records debut, which received extensive radio play with the "Big Love" and "Addicted To That Rush" singles - the latter of which may have prompted labelmates Rush to invite the band on tour. The band returned in 1991 with "LEAN INTO IT", an album that further strengthened their reputation, and, in the process, went RIAA platinum.


    Kurt Cobain Biography 
    Kurt Donald Cobain was the leader of Nirvana, the multi-platinum grunge band that redefined the sound of the nineties. 

    Cobain was born on the 20th of February 1967 in Hoquaim, a small town 140 kilometres south-west of Seattle. His mother was a cocktail waitress and his father was an auto mechanic. Cobain soon moved to nearby Aberdeen, a depressed and dying logging town. 

    Cobain was for most his childhood a sickly bronchitic child. Matters were made worse when Cobain's parent's divorced when he was seven and by his own account Cobain said he never felt loved or secure again. He became increasingly difficult, anti-social and withdrawn after his parent's divorce. Cobain also said that his parent's traumatic split fueled a lot of the anguish in Nirvana's music.

    After his parent's divorce Cobain found himself shuttled back and forth between various relatives and at one stage homeless living under a bridge. 

    When Cobain was eleven he heard and was captivated by the Britain's Sex Pistols and after their self-destruction Cobain and friend Krist Novoselic continued to listen to the wave of British bands including Joy Division the nihilistic post-punk band that some say Nirvana are directly descended from in form of mood, melody and lyrical quality.

    SLURPZ: Tabletkiosk eo UMPC Now Available

    SLURPZ: Tabletkiosk eo UMPC Now Available


    David Draiman: Vocals
    Dan Donegan: Guitar
    Fuzz: Bass
    Mike Wengren: Drums 

    "What I'm trying to do from a lyrical perspective is bring back the majesty of metal," says David Draiman, defining Believe, the follow-up to Disturbed's multi-platinum debut, The Sickness. "With this album I wanted to speak about important things in a grand way, and even touch on things that may not seem so important, but come at them from a perspective that makes them inviting, delicious--even foreboding in a way."
    Among his many distinguishing characteristics, Draiman has superb enunciation. As a singer, it provides his voice with scalpel-like precision that razors through the great articulated noise his bandmates generate. Combined with leather-lunged projection, his voice can both bludgeon and slash at a level that transcends his lyrics' literal meaning.

    Things get really nasty, though, when his voice joins his bandmates' dexterous rhythmic assault in what Draiman describes as "a constant blend of all the elements." The resulting attack during songs such as "Prayer" and "Liberate" telegraphs contusions along a listener's brainpan. 
    There's a reason Draiman, guitarist Dan Donegan, bassist Fuzz and drummer Mike Wengren named 2001's victory lap around the U.S. the "Music As A Weapon" tour. Sharp enunciation and road-honed chops are merely part of the arsenal.

    Lacuna Coil

    Lacuna Coil is a six-member band hailing from Milan, Italy, although the vast majority of their lyrics are sung in English. Their music is usually lumped into the category of “goth metal”; however, they’ve developed their own unique sound by using heavily distorted guitars overlaid with melodic keyboard arrangements and a powerful blend of both male and female lead vocals. The name “Lacuna Coil” means “empty spiral” and is said to represent the band’s life philosophy. Major players in the European metal scene for nearly a decade, the band was virtually unknown in the U.S. until they began touring there in 2003-4, with probably their greatest exposure resulting from the infamous Ozzfest tour. This discovery by American fans subsequently made their most recent CD entitled “Comalies” the best-selling release in the history of their record label, Century Media, with over 150,000 copies sold last year in the U.S. alone. In addition to touring with Ozzfest, having a song (“Swamped”) on the soundtrack of the movie “Resident Evil: Apocalypse” introduced them to new legions of U.S. fans. Add to that the promotion of “Comalies” through commercials on major music-video TV channels, and you have the recipe for the band’s newfound international success.

    The brainchild of bassist and chief songwriter Marco Coti-Zelati and his long-time friend, male vocalist Andrea Ferro, the group first formed in 1994 under the name “Sleep of Right”. They asked a female friend, Cristina Scabbia, to sing backing vocals on a few songs, but it wasn’t long before they realized that her clear, soaring voice made the perfect foil to Ferro’s deep growling style of singing, and they soon asked Scabbia to join the band permanently. Thus, the three core members of Lacuna Coil that remain today were in place. In 1996, they released a 2-song demo, changing the band’s name to “Ethereal”, and this eventually led to a recording contract with Century Media in 1997 under the name Lacuna Coil. 

    On their self-titled first effort (a six-song EP released in 1998), Claudio Leo and Raffaele Zagaria played guitars, while drums were the domain of Leonardo Forti. However, these three members left the band while Lacuna was touring with Moonspell in support of the EP. Lacuna Coil’s first full-length album, “In A Reverie” was completed in 1999, with Cristiano Migliori on guitars and Cristiano Mozzati (“Criz”) on drums replacing the departed members. These two musicians proved a good fit for Lacuna, and they’re still with the band today. “In A Reverie” had a heavier sound than their debut EP, and earned the group further recognition in the European metal scene, particularly in Germany and Scandinavia, and somewhat in Great Britain. Ironically, the band says that metal isn’t a very popular style of music in their native Italy, except in the underground club scene.

    Next in Lacuna’s discography was the five-song “Halflife” EP, which came out in 2000 and further defined their unique style, which uses inventive songwriting and their signature duality of male & female vocals to portray the good-evil/light-darkness/strength-despair themes that run throughout much of their music. The final member of the group, Marco Biazzi (“Maus”), was added as a second guitarist on this EP, and he completes the band’s line-up as we know them today. 2001’s “Unleashed Memories” was the prolific sextet’s next release, a full-length album that has a grinding, slow & heavy feel throughout many of the songs, much to the delight of their goth fans. 

    What many consider to be Lacuna Coil’s break-though album, “Comalies” came out in 2002, completely produced in an astonishing two months’ time. This release shone with even more innovative keyboard arrangements and brighter sound effects than their previous work. It showcases their ability to stay true to their patented style while maintaining creativity and originality, so that no two songs sound alike. 

    With the highly-anticipated release of “Karmacode” finally arriving in the spring of 2006, Lacuna Coil debuted yet a heavier, faster sound while retaining traces of their original melodic underpinnings. The band took some definite risks with the stronger baseline and overall edgier feel to the songs on “Karmacode”. This may be an acquired taste for some fans of the classic Lacuna sound, but marks a creative progression that will undoubtedly attract new fans more inclined toward heavier sounds. Repeated and attentive listening reveals that LC’s core attributes are still audible on “Karmacode”. The slight middle-Eastern flair in some of the new tracks follows LC’s tradition of combining haunting ancient melodies with innovative new hard rock rhythms. This seamless combination of old and new is the hallmark of Lacuna Coil, and perhaps their greatest and most original asset. Hopefully it will continue into many future releases.


    Guns and Roses are a rock phenomenon today.They shot their way to fame in late 80's courstey their hard core heavy metal music winning them millions of fans world wide.Irrespective of the controversies surrounding them the band lives and rocks. 

    The band was formed in 1985 when Axl rose(B.William Rose) teamed up with Izzy stradlin(B.Jeff Bel), 
    guitarist Slash(SaulHudson) bass guitarist Duff ' Rose' Mckagen(Michael Mckagen) and drummer steve addler.They took their name from the two bands Axl and Izzy had formerly played in:The L.A.Guns and the Hollywood Roses.  
    (By the way ,the name makes great sense about their music as well!)It was the release of their self-released EP called 'Live ?!*@ Like a suicide',which had them signed up with Geffen A&R.


    Matthew’s childhood

    Matthew was born in Cambridge on the 9th June 1978 and moved to Devon with his family at aged 10. Matthew’s dad was in a band called The Tornadoes, who were the first band from the UK to get a US number 1 record. At the age of 14 Matthew’s parents got divorced. "It was ok at home, middle class, we had money,” Matthew says. “Well until the age of 14. I think I almost got everything I wanted until the age of 14, yes. Then, everything changed, parents got divorced, and I went to live with my grand mother, and there wasn't that much money. I have a sister who's older than me, she's actually my stepsister: my dad had her from a previous marriage, and also a younger brother. Until the age of 14 music was part of my life since it was part of the family circle: my dad was a musician, he had a band, etc. But it's only when I moved in with my grandparents that I started playing music myself. It was like a need to me."

    Matthew moved in with his grandmother and then found music was a need for him. He started playing piano at 6, but the absence of his parents turned him towards the guitar when he was 14. His parents and older brother also used an Ouija Board to contact the dead, which Matt discovered when he was wandering downstairs late at night. He then became interested in it after the divorce of his parents. “It was exciting to go to school and to tell 10-year-old kids all about it, as they found it all quite scary and I was quite impressed that I was doing something that was scary to other people but that wasn’t to me. I did get quite into that.” His beliefs changed after one correspondence predicted the first Gulf War a year before it started. “My beliefs in the whole thing changed. I now believe that you’re contacting something in your subconscious, which is quite different. Something that you might not have known was already there. That’s probably more realistic than thinking you’re contacting somebody who’s already dead. And I do practice that.

    Dominic was born on the 7th December 1977 in Manchester and also moved to Devon when he was 8 years old. He and his family had no interest in music until Dominic went to high school when he then became interested in a jazz band, and started playing the drums. Chris was born on the 2nd December 1978 in Rotherham, Yorkshire but also moved to Devon (at 11). His mum would buy records regularly. He started by learning the guitar, and then the drums to finally play the bass when he met Dom and Matt.

    Teignmouth wasn’t a particularly good town to live in for the band as Matthew explains. "The only time the town came to life was during the summer when it turned into a vacation spot for visiting Londoners. When the summer ended they left and took all the life with them. I felt so trapped there. My friends were either getting into drugs or music, but I gravitated towards the latter and eventually learned how to play. That became my escape. If it weren't for the band, I would probably have turned to drugs myself."
    Rocket Baby Dolls

    The beginnings of the band came when Matt, Dom and Chris formed Rocket Baby Dolls and entered a “battle of the bands” competition. "I remember the first real concert we've ever made was for a band competition,” says Matt “We were the only real rock band; all the others were pop or funk-pop, kinda Jamiroquai if you want. We knew we had no chance to win - we were not the best musicians - it was a matter of 'fitting'. So we did the best we could, we took advantage of our feeling of being 'different'. We came on stage with make up all over our face, we were very aggressive, we played very violently and then we broke everything on stage. All that to say that the will, the attitude meant a lot to us. So we won. And I think that psychologically it changed many things in our heads. Because we came to lose, we expected to lose. And we were angry somehow. And we had just realized at this time that we could replace lots of things. We realized that emotion, the vibrations that you create are as important as your technical skills. We had just discovered something: music is a matter of emotion." Rocket Baby Dolls was then renamed Muse. 
    First gigs

    As a band, Muse were often asked to play covers. They didn’t like that and were determined to play their own music. The number of gigs started to decline. Then, in October 1995, Dennis Smith discovered them playing in a Cornish village. Dennis Smith: “Matthew has an incredible range of thoughts. He’s got such an imaginative and creative mind, which was obvious in those early days, always challenging and wanting to get into very deep conversations that took 20 years of adult life to come to terms with. An older head on much younger shoulders is how I’ve always seen him.” It wasn’t until 1997 that Dennis offered them free studio time.
    First EP, the record deal and Showbiz 

    In 1998, Taste Media got in touch and a self-titled EP was released on the ‘Dangerous’ label. A few specialist shows were set up in the USA. After strong interest, Madonna’s record label, Maverick, signed them on Christmas Eve 1998. Another EP followed before they released their first single ‘Uno’. It charted just inside the top 75. After the success of the second single ‘Cave’, Muse’s first album (produced by John Leckie who produced Radiohead’s ‘The Bends’) called ‘Showbiz’ was released in October 1999. Early comparisons were being drawn to Radiohead with some critics and music lovers describing them as mere copycats. But it did not stop their success – ‘Muscle Museum’ and ‘Sunburn’ were released as successful singles with ‘Unintended’ being the first Muse single to hit the top 40. The album sold 700,000 copies worldwide and still counting. Muse also released two box sets – The Showbiz box set (released only in France, includes all the copies of their singles) and the Random 1-8 box set (eight b-sides released only in Japan). A successful year for Muse was sealed with a Brit nomination for Best New Act but they didn’t win it.
    Origin of Symmetry

    John Leckie then returned with Dave Botrill (Muse asked him to produce the album with John) to produce the second album, ‘Origin of Symmetry’. Matthew explains the change in direction. "When we did the first album we'd only done a few gigs in London, no major tours. We've learned so much about how we want to be from touring with other bands because of the way they are on stage. If we recorded them in the way other bands do I'd be worried that it would sound the same as them. We've used wind chimes to set up entire backdrops... bits of bones, Llama claws and bubble wrap. It sounds much more atmospheric." Their first single off the new album, ‘Plug In Baby,’ reached number 11, the highest chart placing yet for any Muse single. Their second single ‘New Born,’ also charted top 20.
    The Origin Era

    The album was eventually released soon after to a bag of mixed reviews. However, Muse were on a roll and won the Best British Band award at the Kerrang Awards and were nominated for three Q awards (Best Album, Best Live Act and Best Producer) but didn’t win any. ‘Bliss’ and the double A-side ‘Feeling Good/Hyper Music’ were the last singles from the album. What followed in 2002 was a massive world tour promoting the album and a CD and DVD called ‘Hullabaloo’. The DVD featured Muse playing in ‘le Zénith’ in Paris in October 2001. The CD featured a selection of b-sides on one CD and the concert in Paris on the other. Another double A-side called ‘Dead Star/In Your World’ was released. An EP was also released in France called ‘Dead Star/In Your World’ and a second Japanese and French box set were also made. Muse won the ‘Best Live Band’ at the Kerrang Awards for the second year running topping off a successful period for the band, which saw 1.3 million copies sold.
    Recording Absolution

    Then they took another break to record the third album but this time they dropped John Leckie and worked with Paul Reeve, John Corfield and Rich Costey. Matthew explains "He was the man we originally thought of working with for the rock tracks. He'd previously mixed some great rock records -Audioslave, Rage Against The Machine's ‘Renegades’, The Mars Volta - but in the meantime he'd been sending us discs of other people he'd worked with like Philip Glass and Fiona Apple and was trying to convince us that he should do the whole album. We reworked Apocalypse Please with a more aggressive sound, without too much over-production, and it sounded better. In the end he did do pretty much all the album, and mixed it as well. He understood what we were trying to achieve. The main thing with Rich was that his mixing technique was pretty precise. Every cab would have about 10 microphones on it and they would all be placed with mathematical precision. I remember spending a whole day playing the guitar and seeing Rich outside with a measuring tape and a spirit level! He was making the slightest adjustments, millimetres at a time to get it so there was perfect phase."

    The album was going to be uplifting but then the US and the UK went to fight Iraq in the Gulf and everything changed. "We started off with a full orchestra, experimenting, pushing it right over the Queen mark - 98 backing vocals, 32-piece orchestra and all sorts! We did two songs like that and kinda lost our minds,” says Matthew. “We ended deciding to get back to basics. We re-recorded some of the stuff with the orchestra, toned it down a little bit. It sounds a lot harder now than I expected. In terms of general context, the world's changed in the last year, the world events of the last year and a half. It's not that we're a political band but I think it's impossible to avoid those things. I think there's a lot of apocalyptic stuff going on in a lot of the songs. While we were recording all the war (with Iraq) was coming out and we were in the process of recording while watching that. The direction definitely took a pretty harsh change in the middle of it all. In relation to the album it's come across more as a general fear and mistrust of the people in power. It's about moments of extreme fear, and a fair bit of end of the world talk.”

    Matt also explains how it is different from ‘Showbiz’ and ‘Origin of Symmetry’. “In the past I was layering guitars quite a lot but this time I wanted to get just one guitar part to stand out and be just perfect. On the last album [‘Origin of Symmetry’] for example, on songs like ‘Citizen Erased’ or ‘Micro Cuts’, I did a lot of multiple guitar parts. But when I went to do it live, I actually found myself simplifying the guitar parts and found that the simple parts were much more effective and much more powerful sounding. So in making this album, instead of recording the songs in layers, I was actually working on the parts a lot more before I recorded them.”
    The release of Absolution

    ‘Stockholm Syndrome’ was released as a download only single to give fans a taste of what was to come on the third album, now called ‘Absolution’. It proved to be not only popular but also one of the most popular download singles ever. Muse then started to play warm-up gigs ahead of the release of the album and a huge European tour. Their next single, ‘Time Is Running Out’, was the only Muse single to feature in the top 10 of the UK chart. Shortly after the European release of ‘Absolution’, Muse won the Q Innovation Award and ‘Absolution’ also topped the album charts in the UK in the process and in December they won the Best British Rock/Indie Band award at the Interactive Music Awards and their third single, ‘Hysteria’, also charted in the top 20 to end a memorable year for Muse.
    2004: The Absolution Year

    2004 was full of drama for the Muse. They were again nominated for a Brit Award, this time for Best Rock Act but lost to the Darkness. They also went on tour in Australia, France, Japan (in which Chris lost his wedding ring that was eventually returned to him) and the USA. Matthew injured his mouth whilst performing in Atlanta. Matthew explains the pain: "I didn't feel any pain at first. Then I spat out this liquid and there were gushes of red stuff spurting out all over the microphone. I ran backstage and started puking up. At first you could feel the stitches stretching my face as I sang but now the only problem is that they seem to be disappearing into my lip.” Dominic also noticed that Matt was injured. "I knew it was bad as soon as he turned around, there was blood dripping everywhere."

    He recovered and Muse continued touring America and Canada whilst ‘Absolution’ got critical acclaim, making them one of the British bands that have the potential to crack America like Coldplay. ‘Absolution’ was also only the second album to be released in America because ‘Origin of Symmetry’ was never released there following a dispute with Maverick. ‘Sing for Absolution’ was then released as a single on the eve of their huge European festival tour, charting in the top 20. 

    Matt has a very interesting habit whilst touring; poker. "I'm really into the mind games of poker", he explains. "I'm more ruthless than the other two so I've been taking all their money. It can get boring. In Barcelona I had to go to a casino to play with some pros. I still made around 500 euros. You know the Channel 4 poker programme Late Night Poker? My ambition is to appear on that. But the stake is £1500 and I'm not quite good enough yet."

    Muse confirmed their status as one of the world’s best rock bands by playing a fantastic set at Glastonbury. But it was marred by tragedy as just hours after coming off, Dom’s father, died of a heart attack after seeing his son play live. "It was the biggest feeling of achievement we've ever had after coming offstage", Bellamy says. "It was almost surreal that an hour later his dad died. It was almost not believable. We spent about a week sort of just with Dom trying to support him. I think he was happy that at least his dad got to see him at probably what was the finest moment so far of the band's life."

    More drama would unfold at the Cure Curiosa Tour in America as half-way through the tour, Chris injured his wrist, throwing many festival dates in doubt. However, they managed to recruit a temporary replacement in Morgan Nicholls, bassist for UK hip-hop act The Streets, and, with Chris playing on keys and providing backing vocals, delivered a storming show at the V Festival in August 2004, rounding a mad year since the release of ‘Absolution’.
    The Future

    Matthew explains how Muse will go about recording their forth album. “We want to have a new approach and a new atmosphere. We will maybe find a house and take our own material to record it. I’d like to spend some time in New-York too! It seems to be a “magical” city to record an album. We really dunno now. I think that we all wanna have a normal life. Chris is gonna spend some time with his children and I’m gonna find a job in a bar! I think the combination of guitar rock and full-on 70’s disco is ready to be exploited properly. Like Night Fever, but heavy. Or Billy Jean. A little bit rock guitar, a little bit disco."

    "For me", Matt says, "Muse is about getting the hopes, dreams, desires, frustrations out of your system that you wouldn't normally be able to do. It's about showing people that there are things inside buried that should be exposed, and having no shame about them. We can communicate no matter the environment." Dom also explains what the band has learnt from their time as a band. “I think we've just grown up over the years and learnt loads about who are as people and how we played our instruments and it's definitely kind of a growing up process, but it's all about commitment. You know, believing in something you do a lot and kind of fulfilling that and fulfilling the things you really want to do!”


    At the start of the new millennium and exactly 35 years since the foundation of Germany’s most successful hard rock band of all time, SCORPIONS Klaus Meine, Rudolf Schenker and Matthias Jabs can look back together on a spectacular career in the international music business.Like many youngsters born in post-war Germany, Klaus Meine and Rudolf Schenker were influenced by the music and other life-enhancing delights imported into their homeland by American GI’s – Elvis Presley, chewing gum, blue jeans and leather jackets, but most of all rock ‘n’ roll. From an early age, both of them had an irresistible urge to grab a guitar and step into the limelight. In the early 1960s the Beatles sparked off the beat revolution. By the mid-1960s Klaus Meine and Rudolf Schenker, both of whom were blessed with understanding parents, had also taken to the stage with their beat groups. In 1965 Rudolf Schenker started up the SCORPIONS in Hanover. Rudolf’s younger brother Michael Schenker was, like Matthias Jabs, smitten by beat music and the burgeoning rock culture. Guitarist and songwriter Rudolf Schenker’s earliest influences were the raw riffs of bands like The Yardbirds, Pretty Things and Spooky Tooth, who in those days were regarded as the real hard rockers.At New Year 1970, the younger Schenker brother Michael, who despite his youth had already established himself as an outstanding guitarist, left the Hanover-based group Copernicus, along with singer and composer Klaus Meine, to join Rudolf Schenker’s SCORPIONS. Rudolf Schenker and Klaus Meine teamed up to form the accomplished Schenker/Meine songwriting duo, so laying the foundations for a spectacular success story.In 1972, the SCORPIONS released their remarkable début album, Lonesome Crow, produced by Conny Plank in Hamburg. The vocal and instrumental ingredients which over the years were to develop into the typical, unmistakable SCORPIONS sound, were already recognisable: uncompromising, guitar-orientated hard rock, on the lines of what Jimmy Hendrix, Cream and Led Zeppelin generated in the mid-1960s. The distinctive SCORPIONS style came from the combination of two electric guitars, a fusion of fabulously forceful power riffs with dazzlingly exuberant guitar solos. Added to which was the instantly recognisable voice of singer and front man Klaus Meine with his highly expressive and polished delivery. In one respect, the SCORPIONS were unique on the German rock scene of the period. Because, right from the start, the band was aiming for the very top of the international hard rock business, Klaus Meine wrote all his lyrics in English. In the creative partnership of Rudolf Schenker and Klaus Meine Germany had finally found its answer to the famous beat and rock composing teams of the English-speaking world.The first album Lonesome Crow set the band on the path to international success. The SCORPIONS toured as support band with Rory Gallagher, Uriah Heep and UFO. Throughout their history Rudolf Schenker has been the unshakeable driving force behind the SCORPIONS. He adopted his father’s philosophy of life – nothing is impossible as long as you believe in it. Right from the foundation of the SCORPIONS, he had only one declared ambition: "one day the SCORPIONS will be one of the best heavy rock bands in the world!" It was an idea to which all the band members were committed. The SCORPIONS were constantly on the lookout for fresh challenges. Every change in the line-up was seen as an opportunity to move closer still to success and the achievement of absolute professionalism.In 1973, following a joint tour with UFO, Michael Schenker joined the British rock group. He was replaced as SCORPIONS lead guitarist by Ulrich Roth. He too was an exceptional guitar player with an almost mystical talent. With Ulrich Roth, the SCORPIONS continued unwaveringly to explore the hard rock genre.In the 1970s, the SCORPIONS undertook tours of Western Europe, playing countless venues and conquering one country after another. They would appear wherever there was somewhere to plug in their instruments. In

    1973, they accompanied The Sweet on their first European tour. The SCORPIONS went on to record their next four studio albums with Ulrich Roth. Fly to the Rainbow, (1974) features a solid, high-energy brand of heavy rock never before heard from a German band. The title track Speedy’s Coming typifies the SCORPIONS style of ultra-hard rock combined with catchy melodies. Beginning with their third LP In Trance, (1975), they began their working relationship with well-known international producer Dieter Dierks. They were firmly launched on their hard rock career. In Trance was the best-selling RCA album in Japan, where a regular SCORPION mania broke out.In 1975 the SCORPIONS toured Europe, sharing top billing with KISS. In Germany that same year, they were voted best live group. During their first UK tour in 1975, the SCORPIONS entered what might be called "the lion’s den", playing at Liverpool’s legendary Cavern Club. In the birthplace of hard rock, they succeeded in gaining the acceptance of the most dyed-in-the-wool British fans. Gigs at the renowned London venue, the Marquee, were further highpoints of the mid-1970s.The SCORPIONS achieved their ambition to be the top German hard rock band, when their fourth album Virgin Killer (1976) won the "LP of the Year" award in Germany. In Japan, Virgin Killer gained them their first Gold Disc. Their follow-up album Taken by Force (1977) was also awarded a Japanese Gold Disc. In 1978 the SCORPIONS toured Japan, the world’s second largest music market, where they got a foretaste of what it was like to be superstars. When they arrived at Tokyo airport, the five heavy metal men were mobbed by adoring fans. Ulrich Roth left the band after the 1978 Japanese tour. The highpoint and conclusion of the SCORPIONS’ Ulrich Roth period is the double album Tokyo Tapes (1978) which even now is cherished around the world as a collector’s item. Michael Schenker filled in briefly (he recorded several songs on Lovedrive (1979) until Matthias Jabs finally entered the fray.In 1978 an advertisement appeared in the Melody Maker: the SCORPIONS were looking for a new lead guitarist. In London, they auditioned 140 hopefuls, before deciding on Hanover-born Matthias Jabs. Thrown in at the deep end, Matthias Jabs immediately joined the band in recording Lovedrive (1979) which was then in production. The album was to be the group’s biggest triumph so far, and is still one the SCORPIONS’ best-ever albums. The sleeve received a prize for the best artwork of the year.In 1979, Michael Schenker rejoined the SCORPIONS for a short spell, but left the band while on tour. In 1980, he founded MSG, the Michael Schenker Group. Matthias Jabs once again leapt into the breach and achieved the amazing feat of learning, literally overnight, the entire programme for the current tour. His baptism of fire came when the SCORPIONS played to 55,000 fans as support act for Genesis on their German tour. In Matthias Jabs, the SCORPIONS had finally found the lead guitarist whose creativity, virtuosity and enthusiasm continue to make a decisive contribution to the band’s success. With him, the band achieved an even more solid sound. Like the missing piece in the jigsaw, his guitar style fitted to perfection into the group dynamic, creating the unique SCORPIONS sound. Klaus Meine, Rudolf Schenker and Matthias Jabs still form the musical backbone of the band. With bass man Francis Buchholz (who joined the SCORPIONS in 1973 at the same time as Ulrich Roth) and drummer Herman Rarebell (who first featured on Taken By Force in 1977), they finally established the combination that was to continue its victorious progress across the globe right up until Wind of Change.Already hailed as a super group during the 1978 tour of Japan, in 1979 the band, comprising Klaus Meine, Rudolf Schenker and Matthias Jabs, set out to conquer the vast US market. Their weapons: a professional attitude paired with a steely determination to succeed and a philosophy of friendship, both within the band and towards their fans, as well as great musicality. As a rock

    band working on the international scene, the SCORPIONS had long since created their own musical identity. In the 1980s, the USA was the biggest market of all for hard and heavy rock. Since 1974, the SCORPIONS had built up a considerable following in the States. Van Halen launched their musical career in the mid-1970s with cover versions of SCORPIONS songs: Speedy’s Coming (from Fly to the Rainbow) and Catch Your Train (from Virgin Killer).In 1979, now professionally managed and boosted by the success of Lovedrive, the SCORPIONS with their definitive line-up – Klaus Meine, Rudolf Schenker and Matthias Jabs – embarked on their first major tour of USA rock arenas as opening act with Aerosmith, Ted Nugent and AC/DC. In Chicago, the SCORPIONS swapped the headliner billing with Ted Nugent, since the SCORPIONS had more fans in the city. On this first American tour, the SCORPIONS quickly learned the rules of the game in the international rock business.Their seventh album Lovedrive was released in the USA in 1979, and was the first SCORPIONS production to receive a Gold Disc there. Animal Magnetism followed in 1980. With the two albums, the band finally made their North American breakthrough. On their second US tour the SCORPIONS were top of the bill. The era of SCORPIONS monster tours had begun.After more successful world tours, in 1981, while recording Blackout, Klaus Meine lost his voice. Not wishing to stand in the way of the band’s success, Klaus Meine wanted to pull out. But the unshakeable friendship between Rudolf Schenker and Klaus Meine and the close and supportive relationship within the band allowed the seemingly impossible to happen. After lengthy vocal retraining and two operations on his vocal chords, Klaus Meine overcame the trauma. And that was not all: in 1982, he re-emerged with a much increased vocal range. One critic wrote: "They have given Klaus Meine metal vocal chords." The band’s decision to stand by their lead singer through this troubled time later proved to be the most crucial the SCORPIONS ever took in the their entire career. It was Klaus Meine who in 1989 composed their smash hit Wind of Change.In 1982, on their second US tour as headliners with Iron Maiden as support act, the SCORPIONS promoted their groundbreaking album Blackout, with Helnwein’s stunning sleeve design. The single No One Like You and the Blackout LP reached the US Top Ten, the LP was voted Best Hard Rock Album of the year and awarded a Platinum Disc. One hit followed another, and in the 1980s the SCORPIONS captured the hearts of hard rock fans around the world.In 1984 the SCORPIONS became the first German hard rock band to play three successive gigs in front of 60,000 fans at New York’s Madison Square Garden. The SCORPIONS had finally scaled the Mount Olympus of rock. With three albums featuring simultaneously in the US charts: Animal Magnetism (1980), Blackout, (1982) and Love at First Sting (1984), the SCORPIONS spent two years on the road playing as headliner or co-headliner at all the big rock festivals that sprang up around the world after Woodstock.The SCORPIONS toured the globe, with a fleet of articulated lorries, Nightliner buses, helicopters, private jets and the inevitable limos. Hanover’s heavy metal band played all the main rock venues in North, Central and South America and Europe. In Asia, they played in Malaysia, Thailand, the Philippines and Japan. This was the golden age of heavy rock.With gigantic stage and light shows and dramatic firework effects, the SCORPIONS unleashed a pyrotechnic display of sound and light. Their relentless energy sent the fans wild. To US audiences, the SCORPIONS, with their polished, hard-edged "melodic rock" and Klaus Meine’s dramatic power singing with its dizzying top notes, came to epitomise the best in heavy rock. Groups like Bon Jovi, Metallica, Iron Maiden and Def Leppard, later to become mega bands, were support acts on the SCORPIONS’ worldwide tours, learning what it meant for a band to hold its own in the rock arena in front of an audience of millions. Love at First 

    Sting became one of the most successful albums in rock history. It includes the SCORPIONS’ most electrifying numbers Rock You Like a Hurricane, Bad Boys Running Wild, and the masterpiece Still Loving You. The critics struggled for superlatives.Rolling Stone called the SCOPRIONS "the heroes of heavy metal". The SCORPIONS were admitted to the exclusive club of the world’s 30 greatest rock groups. Their ballad Still Loving You became an international rock anthem. In France alone, the single sold 1.7 million copies. The song unleashed a wave of hysteria among French fans not seen since the Beatles and became the SCORPIONS’ musical trademark around the globe.The SCORPIONS’ most memorable appearances as headliners were at the 1983 US Festival in California’s San Bernadino Valley in front of an audience of 325,000 and at the first Rock in Rio in 1985 where they were cheered by 350,000 enthusisatic South American SCORPIONS fans. The 1985 double album World Wide Live, a counterpart to the 1978 Tokyo Tapes, impressively documented the band’s more recent international triumphs.In 1986, the SCORPIONS topped the bill at the legendary Monsters of Rock Festival and played in the Hungarian capital Budapest, their first-ever appearance in an Eastern Block country. By now the SCORPIONS were a household name, with hard rock hits like Rock You Like a Hurricane, No One Like You, Blackout, Big City Nights, Dynamite, Bad Boys Running Wild, Coast to Coast and The Zoo featuring in the charts around the world. In the 1980s, the SCORPIONS created a kind of modern hard rock that is just as popular today.Their authentic power rock ballads, such as Still Loving You, Holiday and later Wind of Change, Send Me an Angel, When You Came Into My Life and You and I, along with acoustic based songs such as Always Somewhere and When the Smoke is Going Down have managed to win over even the most unyielding haters of hard rock Savage Amusement, the last album co-produced with Dieter Dierks, was released in 1988. It reached N° 3 in the US chart and N° 1 in Europe. Even after years of touring the USA and the rest of the world, the SCORPIONS did not rest on their laurels and continued to seek out fresh challenges.As a prelude to their 1988 Savage Amusement world tour, they penetrated the Iron Curtain to give 10 sell-out concerts in Leningrad for 350,000 Soviet fans. They were the first international hard rock band to play in the former USSR, cradle of Communism. Hard rock, heavy metal and especially the SCORPIONS’ ballad Still Loving You had already found their way through the Iron Curtain. The SCORPIONS are still given a rapturous reception in Russia today.A year later, in August 1989, 20 years after Woodstock, the Soviet authorities, encouraged by the success of the SCORPIONS’ 1988 Leningrad concert, gave permission for the legendary Moscow Music Peace Festival. Here, the SCORPIONS shared the stage with other international hard rock acts, including Bon Jovi, Mötley Crüe, Skid Row, Cinderella and Ozzy Osbourne and the Russian band Gorky Park playing to 260,000 Soviet rock fans in Moscow’s Lenin Stadium. In September 1989 Klaus Meine drew on his impressions of the Moscow Music Peace Festival, to create the SCORPIONS’ smash hit Wind of Change.Then, in November 1989, came a completely unexpected event. The fall of the Berlin Wall. Throughout the world, Wind of Change became the hymn to glasnost and perestroika, providing the soundtrack to the opening of the Iron Curtain, the fall of Communism and the end of the Cold War. One year later, in 1990, the SCORPIONS played in Potsdamer Platz where a section of the Wall once stood, in Roger Waters’s spectacular production, The Wall.The SCORPIONS recorded a Russian version of Wind of Change. They also gained a distinguished fan. In 1991, the members of the German band were invited to the Kremlin to meet Mikhail Gorbachev, the last Soviet head of state and party leader. It was a unique event in the history of the USSR and rock music.worldwide mega seller the Wind of Change CD, Crazy World (1990), their long relation

    ship with Dieter Dierks, the Cologne-based producer of so many successful recordings, came to an end. The very first album to be produced by the SCORPIONS themselves, Crazy World, made in Los Angeles, co-produced by Keith Olsen and featuring the smash hit Wind of Change, immediately became the most successful CD to date. Not only was Crazy World the most successful album, Wind of Change was the worldwide top single of 1991, occupying the N° 1 slot in 11 countries. In 1992, they received the World Music Award as the most successful German rock act.Crazy World is impressive testimony to the songwriting talents of the SCORPIONS’ masterminds: Matthias Jabs’s contribution is the dynamic title track Tease Me, Please Me, while Rudolf Schenker once again proves his ability to hit the spot with his classic SCORPIONS ballad, Send Me an Angel, and Klaus Meine displays his brilliance as a composer in Wind of Change. At the end of the 1992 Crazy World tour, the SCORPIONS parted company with their long-time bass player Francis Buchholz. The 1993 CD Face the Heat (co-producer: Bruce Fairbairn), featured the band’s new bass man, conservatoire graduate Ralph Rieckermann.In 1994 the SCORPIONS again received a World Music Award. Yet another high point of their career came when, at the invitation of the family of the "King of Rock ‘n’ Roll", Priscilla and Lisa Marie Presley, and the "King of Pop", Michael Jackson, they performed their cover version of His Latest Flame at the 1994 Elvis Presley Memorial Concert in Memphis, Tennessee. In the same year the SCORPIONS committed themselves to helping United Nations efforts on behalf of refugees from the civil war in Rwanda. In only one week the band produced and released their benefit single White Dove.At the end of 1995, just before completing the Pure Instinct CD, co-produced by Keith Olsen and Erwin Musper and released in 1996, the SCORPIONS’ veteran drummer and long-time companion Herman "The German" Rarebell left the band.During the 1988 Savage Amusement tour, the US heavy metal band Kingdom Come, whose producer was Keith Olsen, had been a warm up act for the SCORPIONS. Even then, the Germans were impressed by the style of the group’s Californian drummer James Kottak. In 1995 the SCORPIONS engaged former AC/DC manager Stewart Young¸ and it fell to him to call James Kottak on the phone and hire him as drummer for the upcoming 1996/97 Pure Instinct Live Tour. James Kottak became the first American to play in the German rock band. With the two new members, bass player Ralph Rieckermann and drummer James Kottak, the SCORPIONS had introduced a new generation of musicians into the group.On the Pure Instinct world tour, the SCORPIONS proved that they were still among the global players on the international rock scene. Not only did they play in Europe, the USA and South America. In countries like Malaysia, Thailand and the Philippines, they continued to notch up well above average record sales and collect gold and platinum discs. In November 1996, the SCORPIONS were the first international hard rock band to play to fans in Beirut after the end of the civil war in Lebanon.On the 1999 recording of Eye to Eye, produced by Peter Wolf, James Kottak worked in the studio with the SCORPIONS for the first time. The cover of Eye to Eye marked a change of image for the SCORPIONS. Only the founder members of the band, Rudolf Schenker, Klaus Meine and Matthias Jabs feature on the front cover. The album itself is a statement of the SCORPIONS’ awesome talents as songwriters and instrumentalists. Songs like Mysterious, Mind Like a Tree, Eye to Eye, Yellow Butterfly and A Moment in a Million Years show the band at the pinnacle of their creativity. With Du Bist So Schmutzig (You’re So Dirty), the SCORPIONS are heard for the first time singing a German lyric. As part of their 1999 Eye to Eye world tour, at the invitation of Michael Jackson, they played at the Michael Jackson and Friends benefit concert in Munich.True to their motto "Don’t stop at the top" the SCORPIONS are starting the new millennium with a 

    new musical challenge: a crossover project with the internationally renowned classical orchestra, the Berlin Philharmonic, once conducted by the great Herbert von Karajan.In 1995, the Berlin Philharmonic was exploring the possibility of a crossover project and was on the lookout for a suitable band. Over the years even this classical orchestra had been aware of the SCORPIONS' success and international reputation. The two Mercedes of German music agreed on a joint venture under the direction of the internationally successful crossover producer, composer, conductor and arranger, Austria’s Christian Kolonovits. As early as 1995 the SCORPIONS began their preparations. Since then, both groups of musicians have continued to working on the project, while still fulfilling current engagements around the world and bearing in mind the timing of EXPO 2000 in Hanover. After the release of the Eye to Eye CD in 1999 and the subsequent world tour, the SCORPIONS got down to serious business in the autumn of the same year.The SCORPIONS gave a foretaste of what is to come when, at the invitation of the German government, they played in front of Berlin’s Brandenburg Gate on 11 November 1999, the 10th anniversary of German reunification. Joining them in their performance of Wind of Change were 166 cellists. The work was conducted by the distinguished cello virtuoso Mstislav Rostropovich. In January 2000, the SCORPIONS and Christian Kolonovits began studio recordings in Vienna. The Berlin Philharmonic recorded the orchestral parts in April 2000. The complete work was mixed during April and May 2000 at the Galaxy Studios in Belgium, using the state-of-the-art Surround System Atmos 5.1.The crossover CD Moment of Glory, featuring the SCORPIONS with the Berlin Philharmonic Orchestra, was released on 19 June 2000. The first live performance took place at EXPO in Hanover on 22 June 2000. The album also includes the official EXPO anthem Moment of Glory.The enthusiasm and open-mindedness of the SCORPIONS with regard to their flirt with the classic-genre was not finished by any means.
    In February 2001 the band performed three concerts in a portuguese monastery.
    These concerts served as a basis for the new album Acoustica.
    The unusual choice of the recording location also pointed out the musical development of the extraordinary musicians: For the first time in their career the SCORPIONS did their performance without electric instruments to the greatest possible extent.
    Klaus Meine's voice sounds pure and unadulterated rocking, together with Matthias Jabs and Rudolf Schenker playing their acoustic guitars.
    The recordings of the SCORPIONS in Portugal, together with some very special guest musicians belong to the greatest milestones in rock history.
    Not only the single "When love kills love", that was released on April 30, 2001, shows the outstanding quality of the SCORPIONS as performers and songwriters.
    The album Acoustica, that was released on May 14, 2001 contains real treasures: Besides four completely new titles, the greatest classics as "The zoo" and "Hurricane" show themselves in a new acoustic sound and impress as well as the brilliantly arranged cover-versions of bands like Queen or Kansas.
    30 years in the rock 'n' roll circus did not stop the band from exploring different projects in a refreshing, intelligent way.
    With the upswing of hardrock worldwide it was time to go back to where the band came from and to team up again with Dieter Dierks, the man who had played such an important part in the Scorpions' history, producing many of those multi platinum albums in the 70s and 80s.
    There are two new songs that were specially recorded for this album.
    Bad for Good, is a new recording combining the classic Scorpions' style with a new arrangement.
    Cause I Love You, is a typical Scorpions' Rocker about a love affair with a guitar.
    The next studio album won't be ready for a summer release, but the Scorpions have nevertheless booked an extensive co-headlining American tour with Deep Purple in summer 2002, with Ronnie James Dio in support.
    A brief hiatus in July, the same year, will allow the band to perform additional symphonic shows in Europe, including an appearance in Luxembourg at the start of the Tour de France.
    Reflecting on past accomplishments, the band feels fortunate to have been part of music history and participate in memorable shows.
    Headlining the biggest festivals in Europe from 1978.
    The "US"-Festival, Rock in Rio, the Monsters of Rock Tour with Van Halen and Metallica in 1988, Pink Floyd's The Wall in Berlin 1990, the many performances associated with "Wind of Change.
    " The biggest audience, an amazing 750.
    000 fans, came to see the Scorpions rock Poland in 2000.
    But according to their motto "Don't Stop At The Top" the band feels that there is always more to accomplish.
    "There are still some places we haven't been" says guitarist Matthias Jabs.
    "Who knows? This year we may go to China!" As for other wishes, "It would be great if we could stay at the top in America and Europe," says Rudolf Schenker, but he is not ungrateful for the level of success the Scorpions have already achieved.
    "To be able to play our music for people all over the world makes us feel so good.
    We're happy right now.
    " He can't conjecture how many more years the Scorpions have in their future, but he's sure they will make the most of their present.
    "The biggest challenge for us is to come up with a great rock record that will be an album in the best Scorpions tradition", vowing to continue as long as they have fun and the passion for performing motivates them.
    Klaus Meine surmises that the Scorpions will be remembered for that above all.

    Yes, their catalog of hits will endure.
    But as a band most at home on the concert stage, that image is the one Meine hopes will be their legacy.

    "This is a live band that always gave 200% on stage," he says.
    "Wherever there was electricity, we plugged in.
    " And rocked like a hurricane.
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