By Amy J. Staples
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Additional info for [Dissertation] Safari Ethnography:Expeditionary Film, Popular Science and the Work of Adventure Tourism
It was just a perfect situation. Priestly: Horst did some backup vocals, too [on “Dethroned Emperor” and “Procreation (of the Wicked)”]. The funniest thing about him was that he was famous in the ’60s and ’70s for working with bands like Can. I didn’t know that back then—I didn’t even know those bands back then—but I found out later on. The Making of Celtic Frost’s Morbid Tales 37 I guess he was on drugs the whole time, but back then we were so naïve and enthusiastic that we didn’t see that. Was the intro, “Human,” something you had conceived of before you went into the studio?
We’d had three or four years of punk rock and new wave in the late ’70s, and there was sort of a resurgence of bands like us who had grown up listening to metal, and we were sort of influenced by punk to an extent. But we still wanted to play heavy metal. There were a lot of bands coming up of the same age as us, doing the same thing. Perhaps it was manufactured by the music press, who like to create the idea that there’s a scene happening, but, yeah, we felt there was a movement at the time. Sean Harris: We followed Def Leppard and Saxon early on and bought all the Samson, Witchfynde and Angelwitch singles.
There’s even a bit of me in there at times. They just kind of turned some of our riffs upside down, stuff like that. Tatler: I think bits of it were obvious. ” But it didn’t annoy me or anything. I knew they were influenced by Diamond Head, so I presumed they might sound a little bit like us. But James was such a different singer than Sean that they didn’t really sound that much like us anyway, because they didn’t have that kind of vocal. It was much more aggressive and angry, and less melodic.
[Dissertation] Safari Ethnography:Expeditionary Film, Popular Science and the Work of Adventure Tourism by Amy J. Staples