Published by :
pennydreadful.de
Interviewer :
Ed Graham
Published on : August, 2002
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Right,
the day before I was set to move into a new apartment, I landed an interview
with both Karl Logan and Eric Adams of Manowar. Unfortunately, when I checked
the tape after hanging up the phone, neither interview had recorded. So, I
promptly took my stereo home and smashed it. It’s now in many pieces in some
Los Angeles dump. However, thanks to the awesomeness of Jen Graham at Metal
Blade (who is perpetually on a pedestal in my book –not just for an awesome
last name) I was able to repeat the interview with Karl Logan. So here’s my
4th interview with Manowar:
Karl: Hello
Ed: Karl?
Karl: Hey Ed, what’s up man?
Ed:Not too much. How ya doing?
Karl: Pretty good. Yourself?
Ed:Pretty good. I ..uh.. talked to you yesterday
Karl:Yeah
Ed:I rewound both tapes, I interviewed Eric too, and neither interview got
recorded
Karl: Oh really? That’s too bad
Ed: Yeah, I was a little bit unhappy about that
(Ed’s note: I smashed my stereo in frustration that it had failed)
Karl: Well, let’s do it again
Ed: Yeah, I remember some of the stuff you were talking about, but I’ll just
go over the questions again
Karl: Sure
Ed: So… you’ve played guitar with Manowar since 1994
Karl: Right
Ed: And before that, you started playing guitar in 1980?
Karl: Right
Ed: So you’ve been playing guitar for 21-22 years?
Karl: Right
Ed: But this is the first band you’ve done any recording with?
Karl: Right, exactly
Ed: So, how’d you get started playing guitar and developing your style and
sound?
Karl: Well, my guitar was my way of rescuing myself from obscurity, y’know. It
was a lot of desire, and dedication and self discipline. When all my friends
were out partying and running around, cruisin’ the streets and drinking and
stuff, I was home, y’know, playing guitar for 8-9 hours a day. Eventually I
got into a cover band, started learning all the hot songs on the radio, Van
Halen licks and Randy Rhoades, Yngwie Malmsteen and everybody in the 80s that I
had to learn in order to go up on stage and no look like an idiot. So I put a
lot of time into it, making sure every lick, every solo was exact. I learned all
the tricks, learned theory, and a lot about songwriting, y’know, copying other
peoples licks, copying other peoples music is the only way to learn.
Ed: Okay, but you never actually got signed, got recordings done?
Karl: Well, no, I mean, a couple bands there’s demos floating around on
cassette tape maybe in some teenage girls, or former teenage girls (laughs)
cassette case, but nothing that was in anyway marketable. It was a different
world back then, man, nowadays everybody has a cd, put it on the internet, make
copies and pass it out, but it was a different world back then. Back then you
made a demo tape, you basically send it out to a music lawyer or to your agent,
try to get somebody to listen to it, do a showcase for the record company at a
club and that’s the way things were back then. Nowadays, it’s everybody’s
a rock star, everybody’s got a cd.
Ed: Hmmm… how about your style for soloing? How do you go about creating the
solos and various licks that you use?
Karl: Well, I listen to the song first of all, analyze the chords, see what
modes are available, y’know, what I could play that might be a little bit
different or avant-garde and just listen to the song, listen to the lyrics,
decide what that’s saying, y’know, pretty much approach it like I’m adding
a chapter to a book or a paragraph to a story, that’s my time right there to
speak and to sing. It has to go along with the song, it has to be interesting,
and sometimes it’s a little bit unexpected and sometimes it’s predictable,
it’s what the song needs. So… it comes from experience, from playing and
learning so many solos and leads, it’s kinda something you get a feel for,
you’ve done so many of them, absorbed so much knowledge from the masters
before you.
Ed: What about for My Spirit Lives On? And Today is a Good Day to Die?
Karl: Well, that was, I think I talked to you about this yesterday?
Ed: Yeah
Karl: Well, the first part, it was about flipping through the channels on TV one
night and I came across a violinist, fiddler, country fiddler actually, standing
in the spotlight at some awards show, just burning on the violin, and I was
inspired by it, the style of his playing, and that’s how I wrote the first
part of it. The second part of it is an arpeggiated classical section. Arpeggios
are fun to play and they’re a really great technical exercise so I put a
little bit of that in there, I expanded to just speed picking scales, string
skipping scales, again based on classical chord patterns. Y’know, wrap the
whole thing up with a lot of enthusiasm, playing like a crazy bastard, that’s
how it came out to be what it is.
Ed: Hmmm…You mentioned a lot of technique and technical exercises. How do you
think that compares with the emotional side of music? I mean, how do you combine
the two?
Karl: It’s a fine line to walk, it’s definitely a fine line. I have to admit,
on the first record, Louder than Hell, I was more concerned with playing
technically, and making my mark on the world, showing everybody what I could do,
but on this record I was able to step it back, play more for the song and not
overplay as much so… I think there’s a certain amount of passion involved in
playing technically and playing fast as well. I don’t think playing
emotionally is exclusive to playing slow, so it depends on your ability and your
conviction and passion in your playing.
Ed: Yeah, I saw, when you guys played in LA, back in June I think it was, I just
remember the solo you did, I was in the front row, you were like five feet from
me, you were doing this really fast double tapping section, and your eyes were
closed.
Karl: Yeah
Ed: You were so totally into the music, it was breath taking, I don’t think
Karl: Thank you
Ed: I don’t think there was a jaw in the audience that wasn’t dropping
Karl: Thank you man
Ed: So I was wondering, was there ever a time, I mean, everyone always starts
off just working on the basic technique, but how did you develop into combining
the blinding technique with the emotion, or is that just
Karl: Practice, practice, practice. I hate to give a clichéd answer like that,
but that’s the only answer there is, practice. Practice and Sacrifice. Those
nights when you want to go out and get laid, stay home and practice. Those
nights you want to go get drunk with your friends, stay home and practice.
That’s the only way to do it.
Ed: Wow. Okay, hmmm…equipment. You’re using Matisko guitars, all custom
built stuff?
Karl: Yup, Matisko right
Ed: What about pedals and stuff for live shows?
Karl: Nothing
Ed: Nothing?
Karl: Nothing. The only I have actually, well, you might see me hitting a pedal
every now and then but that’s just simply a program switch, between a lead
sound and a rhythm sound, or a clean sound. But I don’t use any pedals or
effects.
Ed: Interesting. What about on the recording for Hell on Stage, Master of the
Wind. Was that an acoustic guitar?
Karl: 12 string
Ed: 12 string, wow. I always wondered how you got that sound
Karl: That’s a 12 string, they have a sound all their own, beautiful
instrument
Ed: Nice.
Karl: That’s actually on the next video
Ed: Oh really?
Karl: That whole song is basically on video, us playing it live
Ed: Sweet. So that’s Hell on Stage Pt 2? (Ed note: Hell on Earth Pt 2)
Karl: Right
Ed: Cool. That was the one that had the fan submissions?
Karl: I’m not sure, there’s quite a few of them, I’m not sure which one
that’s on, I haven’t seen the whole thing finished yet
Ed: What kind of stuff can we expect on it?
Karl: It’s more song oriented, more concert footage, less back stage footage,
less goofing around. Just a different format, more musical
Ed: Any idea when those will be released?
Karl: Right around Christmas
Ed: Sweet, I can’t wait, I’m getting a dvd player this weekend
Karl: Playstation too?
Ed: No, it’s a new computer
Karl: (laughs)
Ed: Sweet, so going back to the new album, Warriors of the World, this is more
of an orchestrated album, like Swords in the Wind, starts out with Harp and
classical guitar and French horn. How did you go about creating this wild
arrangement?
Karl: Again, that comes from listening to all types of music, and really
studying arrangements, you have to study arranging the way to study cooking,
songwriting is the same thing, you have to study it, naturally it’s an art
that you learn, and when you’re arranging, a lot of the time it’s not
important what you add, it’s important what you take away. The song originally
started with the band coming in on the second verse, and it just wasn’t
satisfying to hear the first chorus with the band crashing in, to hear it
basically unchanged for the whole song, so we said, we gotta do something
different. The more shit you add, the more you gotta start taking away, taking
away guitars, taking away electric instruments, we wound up with an orchestra
and the nice texture that you hear, and a lot of that is just experience and
experimentation
Ed: Do you have a major classical influence?
Karl: Not really, classical music is classical music. I can’t single out
anyone who I think is particularly better or worse, um, I love classical music
and I love orchestrated film sound tracks and anything that’s emotional. An
instrument is basically a substitute for the voice. That’s what you hear
something singing or crying, I think subconsciously you hear a voice. There’s
so much good music out there, anything that’s been recorded that I listen to
influences me.
Ed: Hmmm…are there any main bands that you listen to, that influence you?
Karl: No, I listen to a lot of different styles of music, every different style
of music from contemporary to classical to orchestrated film soundtracks to
heavy metal to rock and roll. There’s a lot of good music out there. Good
songs are what I’m all about.
Ed: Also on the new album, on songs like Swords in the Wind or Call to Arms,
there’s a bit of a different rhythmic pattern to the vocals. When you were
writing the song, did that just happen, or were you thinking about trying
something a bit different?
Karl: No, I don’t think they’re that much different from previous records.
We just wanted to make an album that was very dynamic and expressive and
different, without betraying or selling out what heavy metal is.
Ed: There’s a lot more ballads on this album. Was that intentional or did that
just happen?
Karl: No it just happened, I mean, it was written in a way, the songs just
shaped themselves.
Ed: Cool. There have been rumors that you guys have been working on film scores.
Are there any set plans for that?
Karl: On what?
Ed: Film scores. Movie sound tracks.
Karl: Oh, people always bring that up, and that’s a question that’s always
been thrown around but… no, there’s nothing that I know that’s in the
works. If the right offer came up, then we’d consider it, but nothing’s
currently on the table that I know of.
Ed: Okay. On the new album there were a couple guest artists, Joe Rozler and
Mary Breon. Whereabouts did you find these folks?
Karl: They’re just old friends of the band. Mary’s a talented singer that
Joey discovered and she’s doing some work, you’ll be hearing from her in the
future. Joe’s actually been on a number of Manowar albums, he’s a very
talented keyboardist up in the Rochester area, a good friend of the band. He’s
actually been to Europe with us, played on a number of television shows
Ed: Eric said something about Mary having a band on Magic Circle Records?
Karl: Yeah, that’s what I’m talking about. Eventually, you’ll hear of that
project too.
Ed: Any details on that?
Karl: It’s called Holy Hell
Ed: Cool. What style is it?
Karl: Ummm, symphonic heavy metal
Ed: Okay, cool. Any other good stuff coming up on Magic Circle Records?
Karl: Yeah, David Shankle will be having a record out, Rhino will be having a
record out, a couple other bands we’re looking at, keep watching the website,
any other information will be updated.
Ed: On the various album covers, there’s four symbols, a circle, square,
triangle and two sticks. How did that come about?
Karl: Those are the playstation symbols
Ed: Uh…really?
Karl: (Laughs) No! No, no they’re just runic symbols, basically things that
Joey just discovered through reading and studying the Viking cultures, they’re
Celtic or Viking or something, some kind of runic symbols. I’m not actually
sure what they mean
Ed: So you don’t really know why they were chosen or used?
Karl: No, well, I guess it’s just that bands have symbols and they have
trademarks, just something that people know when they see our motorcycles with
them, it’s something personal to each member of the band
Ed: Okay, cool
Karl: Got time for one more bro.
Ed: Say again?
Karl: Got time for one more I think.
Ed: Okay, what’s the future hold for Manowar?
Karl: Well, tour coming up in the fall, a new album next year or shortly
thereafter, and we’re just going to keep playing heavy metal till we die.
Ed: Outstanding! I for one can’t wait.
Karl: Thanks for your interest bro. It’s been a good interview.
Ed: And thanks for doing this again. You have no idea how much I appreciate this.
Karl: Sure man, no problem. I’m glad we got it this time.
Ed: Could I get you to redo the station Ident, or do you have time for that?
Karl: Sure man
Ed: Okay, Penny Dreadful Radio, KSCR, 1560 AM
Karl: What was the name again bro?
Ed: Penny Dreadful Radio
Karl: Penny Dreadful, KSCR, okay uh, what’s your number
Ed: 1560 AM
Karl: 1560?
Ed: yup, 1 5 6 0
Karl: Okay, ready?
Ed: yeah
Karl: This is Karl Logan of Manowar, you’re listening to Penny Dreadful on
KSCR 1560AM, your home for Heavy Metal!
Ed: Rockin’
Karl: Cool, alright bro, glad we got it this time.
Ed: Yeah, it’s on a 4-track, I can see the levels going, so I know I’ve got
it on tape.
Karl: Sounds good. Alright, thanks for your interest, and we’ll see you next
time we’re passing though your area.
Ed: Hey, next time you’re in town, drinks are on me.
Karl: Alright bro, sounds good. See ya later
Ed: Take care
Karl:Bye
Ed: Bye