KROKUS: Headhunter 1983 Ultra rare Cassette tape System S super ferro top quality. West German Limited Edition, Promo. Check audio and video + 2 video presentations of this album

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KROKUS: Headhunter Ultra rare Cassette tape System S super ferro top quality. West GermanĀ  https://music.youtube.com/playlist?list=OLAK5uy_n0Ya7seUNCtX0SmDb0UeOSxE_HekNNqxA&feature=gws_kp_album&feature=gws_kp_artist

Headhunter is the seventh album by Krokus and was released in 1983. It achieved Gold status in the United States. The track “”Screaming in the Night”” was the band biggest hit to date, and is still played on classic rock radio stations. Headhunter is the only Krokus album to feature Steve Pace on drums, and includes the Bachman Turner Overdrive cover “Stayed Awake All Night”.

Songs:
A1 “”Headhunter”” (Butch Stone; Chris Von Rohr; Fernando Von Arb; Marc Storace)Ā  Ā 4:30
A2 “”Eat the Rich”” (Fernando Von Arb; Marc Storace; Chris Von Rohr; Butch Stone)Ā  Ā 4:14
A3 “”Screaming in the Night”” (Fernando Von Arb; Marc Storace; Chris Von Rohr; Butch Stone; M. Kohler)Ā  Ā 6:38
A4 “”Ready to Burn”” (Butch Stone; Chris Von Rohr; Fernando Von Arb; Marc Storace; Von Chris Rohr)Ā  Ā 3:54
B1 “”Night Wolf”” (Butch Stone; Chris Von Rohr; Fernando Von Arb; Marc Storace)Ā  ā€œ 4:10 (written for the animated motion picture Metal Hollywood)
B2 “”Stayed Awake All Night”” (Randy Bachman cover)Ā  4:24
B3 “”Stand and be Counted”” (Butch Stone; Chris Von Rohr; Fernando Von Arb; Marc Storace)Ā  Ā 4:07
B4″”White Din”” (Chris Von Rohr; Fernando Von Arb)Ā  Ā 1:50
B5 “”Russian Winter”” (Butch Stone; Chris Von Rohr; Fernando Von Arb; Marc Storace)Ā  Ā 3:31

Side One Time 19:19
Side Two Time 18:19

Personnel:
Marc Storace – vocals
Fernando Von Arb – lead guitar
Chris Von Rohr – bass & percussion
Steve Pace – drums
Mark Kohler – rhythm guitar
Additional musicians:
Rob Halford – Backing Vocals on “”Ready to Burn”” [Judas Priest, Fight, Two, Halford, Black Sabbath, Hear ‘n Aid]
Jimi Jamison – Backing Vocals

Region Certification Sales/shipments:Ā  United States (RIAA) Gold 500,000^


Check whole album, every song:

I first heard this album back in the mid-1980 and “”Screaming in the night”” was a late night staple on the local radio station as well. Marc Storace has a strong voice and there are some impressive guitar licks here and there on the album. There are a few moments where I am reminded of AC/DC, but the closest band to compare them to might actually be Accept. Only it seems like Krokus are a little more on the hard rock side of the fence while Accept where a little more on the metal side. This is fairly no-nonsense hard rock and there is a place for that style. The title track kicks the album off in good fashion and “”Eat the rich”” is a solid enough anthem. I think that I can only listen to “”Screaming in the night”” every so often because I heard way too often growing up. My favorites tracks are probably the title track, “”Night Wolf””, “”Stand up and be counted”” and the really cool “”Stayed awake all night””.
Still this album holds fairly well for it age.
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5.0 out of 5 stars KROKUS’ METAL ALBUM – ROB HALFORD APPROVED!,
Long considered, and quite rightly so, to be AC/DC wannabes (check out their 3 excellent early albums “”Metal Rendez-vous””, “”Hardware”” & “”One Vice At A Time”” for proof), Krokus really came of age with the release of this their 4th album. Produced by Judas Priest associate Tom Allom in 1983 (between 82 Screaming For Vengeance & 84 Defenders Of The Faith albums), this even boasts having Rob Halford adding backing vocals on the track “”Ready To Burn””. However, the real meat in this mighty metal sandwich are the brutal opening title-track, plus equally blood-hungry & carnivorous “”Night Wolf””. Coupled with two very excellent & quite mature efforts in power ballad “”Screaming In The Night”” & the super-cool radio-friendly groove of “”Stayed Awake All Night””. The album also ends on a high with the guitar-effects heavy “”White Din”” which heralds closing track “”Russian Winter”” which charges along at great pace warning of the perils of fighting in the most inhospitable of environments. All in all, this is a classic metal album, brimming with fire, attitude & melody.
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5.0 out of 5 stars one of the best albums of all time,
melodic and heavy,good riffs,it like these krokus guys are not the same from the first 3 albums- there is no weak song on this,stands a god album like some on the 83-84 years, powerslave-penetrator-balls to the wall-defenders of the faith-crusader-love at first sting-slide it in (uk version)-Bon Jovi first-vertical smiles-elimanator-animal grace-perfect strangers-the last in line-under lock and key-4-pyromania-ride the lightning-hail to England-out of the cellar-russ ballard-1984-rising force- and so many others i can’t remember now……..
people who don’t have these just don’t understand music like a real practising musician not just a listener

 

Do you remember Krokus?Ā  I certainly do. Krokus was the biggest selling Swiss band ever.Ā  Back in 1983, Krokus was starting to make some headway in the US.Ā  Their sound was heavy and sounded a lot like AC/DC.Ā  Then on April 25, 1983, they released the album ā€˜Headhunterā€™.Ā  They took that heavy AC/DC sound and when up another notch as they were louder and way heavier than they had ever been before.

All of that was due to producer Tom Allom.Ā  Tom is a producer and a sound engineer who had worked with Black Sabbath and Judas Priest so the man knew his metal and he took that expertise and gave Krokus their biggest selling and most successful album to date.Ā  And man, did it rock. The use of the twin guitars, the awesome sound of the double bass drum and man the singer could lay down some killer vocals on the chorus.Ā  It is everything you could want. And on a side note for you Def Leppard fans, Tom was producer on their debut ā€˜On Through the Nightā€™.

 

IMG_2177

And look at that cover.Ā  The skull and cross bones was all bright and shiny like metal.Ā  Then the back cover had each memberā€™s face super-imposed with a skull on one half of their face.Ā  How badass is that.Ā  Well, at this time in 1983, I was a young lad of only 14 and was badass to me.Ā  Now, Def Leppard was King for me and so was Krokus. I had two posters on my wall at this point and one was Lep and the other was this one below.Ā  And yes, I still have both posters (they are rolled up in a box in storage, but I still have them).

Krokus poster

The band at this time consisted of the following members:

  • Marc Storace on vocals (or simply called ā€œThe Voiceā€ on the back of the album)
  • Fernando von Arb on guitar
  • Mark Kohler on guitar
  • Chris von Rohr on bass
  • Steve Pace on drums

Now, for some dirt.Ā  Chris von Rohr was fired shortly after this album because he went to the press and leaked information about the band and their rock & roll lifestyle.Ā  Apparently, that didnā€™t sit well with the band.Ā  Also, this is the only album that features Steve Pace on drums.Ā  He didnā€™t make it to the end of the year either.Ā  So, with all the success the band was having, the band was in a little turmoil with line-up changes (sounds familiar)

SIDE 1:

The album starts out with a bang and those double bass drums blasting away at break-neck speed.Ā  The guitar riff comes in and than Marc lets out a massive, yet melodic scream and then straight in to the lyrics that only a teenage boy could loveā€¦ā€Sex & Drugs and Rock & Roll, thatā€™s my cup of teaā€.Ā  The song,Ā ā€œHeadhunterā€Ā is fierce, it is loud and it is the closest thing I would get to speed metal at the time as those guitar notes and riffs were coming at you so loud and fast it would drive you mad.Ā  Marc sounds like a mad man screaming out the verses and then ending with a nightmarishly scream before the final rat-ta-tat-tat of the drums.

Then right in to another vicious song in the form ofĀ ā€œEat the Richā€Ā and any song with a curse word in it was something could wrap my head around.Ā  The solo in this song was mixed with some wicked bass lines, some cool drum-fills and then a killer solo. But the highlight for me, as always, is those lyrics and Marcā€™s delivery. There is a roughness in his vocals (Bon Scott type) and is pure rock & roll.

But letā€™s be honest, as destructive as those first two songs are, the gem on this album and the song they are known for is the ballad,Ā ā€œScreaming in the Nightā€. The wind blows in with those soft and eerie guitar notes are played slowly as the drum and the rest of the band slowly fade in.Ā  Marc goes softer with his vocal delivery and reaches for all the heart strings in the emotions he brings and man, what melodies. MTV played the hell out of this song and is probably why I went and bought this.Ā  The backing vocals on this were Cobra lead singer, Jimi Jamisonā€¦but you might know him as lead singer of Survivor just a year later.

And all you Judas Priest fans hold on to your hats as Rob Halford helps with the backing vocals onĀ ā€œReady to Burnā€.Ā  The song starts out with some bad sounding motor and Iā€™m not sure if a car or a motorcycle, but luckily when the guitars and drum come in you forget about that.Ā  Krokus are back with the rock in full force.Ā  Marc still throws in some screams which seems to be his trademark in these songs, but the guitars are the winner on this one, oh and Halford of course.Ā  When you get to the chorus and you hear Rob, you kinda feel like it is a Priest songā€¦itā€™s as heavy as one.Ā  It is a nice treat and an amazing end to a brilliant first side.

SIDE 2:

Side 2 kicks off just as hard as side one with another heavy, speed song inĀ ā€œNight Wolfā€.Ā  The guitar shredding on this one is exactly what everyone needs to hear.Ā  The song is a torrent ofĀ  guitar notes flowing swiftly throughout. On a fun fact note, this song was originally written for an animated movie called ā€˜Metal Hollywoodā€™ and nope, never heard of it.

ā€œStayed Awake All Nightā€Ā comes next and is actually a cover of a Bachman-Turner-Overdrive song.Ā  It isnā€™t as rocking as the rest of the album andĀ  the tempo and style are so different then the rest of the album.Ā  Steve Pace gets a moment to shine in the musical interlude break as he drives home the rhythm behind an understated guitar solo.

The heavier side is brought back withĀ ā€œStand and Be Countedā€.Ā  This is another rock anthem for the angst filled youth.Ā  Not as good as ā€œHeadhunterā€ as far as an anthem goes, but still enough to get the juices flowing.Ā  And the guitars still shred and that is what you want to hear anyway.

We get an instrumental on here as well in the form ofĀ ā€œWhite Dinā€Ā written by the two ā€œvonā€ boys.Ā  The song opens slow except for this really cool, fast pace, electronic sound repeating.Ā  There are a lot of effects on here that make it a little scary sounding, but also an emptiness feel to it.Ā  It is interesting.

Then the album ends withĀ ā€œRussian Winterā€Ā which for me feels like an Iron Maiden song.Ā  The guitar has this galloping feel to it and the whole thing has this whole epic battle charge going to it.Ā  It is pretty awesome.Ā  And it is a great way to go out and leaving you wanting more.


I still love this album today and it takes me back to my youth on when I was discovering heavy metal.Ā  I didnā€™t go too far heavy, but I did enjoy this.Ā  The album delivered some blistering dual guitar work and the howls of Marc Storace are something to be heard.Ā  It is a solid metal album and even gives you one of the best power ballads of the time.Ā  What more could you want!

Krokus ā€“ Headhunter (1983)
Produced by Tom Allom
Talk about a one-two punch ā€“ the song ā€˜Headhunterā€™ could be one of the best album openers in hard rock historyā€¦and then straight into ā€˜Eat the Richā€™ ā€“ man, they were on fire! ā€œGonna pay the devil his dues, ā€˜cause Iā€™m so sick of being abusedā€ ā€“ I hear ya, Marc Storace! I love his voice around this period. Super-high register with a Bon Scott/chicken getting throttled kind of thing going on. The production is fantastic courtesy of Judas Priest producer, Tom Allom. Rob Halford even sings back up vocals on at least one song. As does Jimi Jamieson from Survivor. 9 songs, and 1 is an instrumental. I even like the ballad. This cassette has my favourite artwork of all time!

Headhunter (Arista, 1983)

The bandā€™s biggest hit,Ā HeadhunterĀ went gold in the US. It was also, by design, different toĀ One Vice At A Time, which was produced by Tony Platt; the engineer on AC/DCā€™sĀ Highway To HellĀ andĀ Back In Black.

For Headhunter, Krokus had Judas Priest producer Tom Allom. They also had Priest singer Rob Halford backing up Storace on the wonderfully OTT heavy metal anthemĀ Ready To Burn. There were shades of Priest in the albumā€™s head-banging title track; a subtler mood in the power balladĀ Screaming In The Night; and another great cover, of Bachman Turner Overdriveā€™sĀ Stayed Awake All Night. From metalā€™s golden age,Ā Headhunter is an undisputed classic album.


“we played in support of our HEADHUNTER album in 1983 at Notre Dame University in South Bend, Indiana as “special guests” of Def Leppard with the late Gary Moore on the bill as well.
Truly a great line-up and we loved the slogan of that tour: ROCK TILL YOU DROP – TOUR TILL WE DROP”.


KROKUS – “Out Of Control”Ā fromĀ Bob KetchumĀ onĀ Vimeo.

Music video clip of KROKUS taken in 1984 during pre production for the “Blitz” album (Arista Records). The band did their pre-production rehearsals and recording for the “Headhunter” and “Blitz” albums at Cedar Crest Studio, Mountain Home, Arkansas. Footage was shot with a Sony 2800 camera to either a SL-2000 portable Betamax or a Beta HiFi deck. Footage was bumped up to 3/4″ U-Matic and edited on a Sony 3/4″ editing system. Basic switcher functions were on an Echolab switcher, which you can see in several of the cutaways. Rudimentary at best, but when it’s all you have . . . . .

Way back in the 80’s I had the opportunity to work with Swiss metal rockers KROKUS”

(The following excepts are from Bob’s book “Face The Music”)Ā  Ā They were a great bunch of guys and had a good attitude, although they really got down to business in the studio for pre-production. Many hours were spent on a single riff or even in a discussion on “why we should do it this way”. Fernando knew what he wanted and kept the band’s direction steady on at all times. Spirits were always high and there were lots of smiles and practical jokes to keep things from bogging down. The walls of the studio were adorned with Playboy foldouts (just to keep their spirits up, y’know)… I was always treated as a professional by the boys and I felt I could add my two cents worth anytime. The line-up in August of 1982 was: Fernando von Arb (Lead guitar), Mark Kohler (Rhythm guitar), Steve Pace (Drums), Chris von Rohr (Bass), and Mark Storace (Vocals). Original drummer Freddy Steady had just left the band and Steve was the “new guy”. To this day I still have the “official KROKUS drum riser” that Steve’s drums were set up on.

I received two Gold Records for studio pre-production work on the “Headhunter” and “Blitz” albums. Both albums were on Arista Records. I think about 95% of all the songs from the “Headhunter” and “Blitz” albums were crafted right here in the studio. We worked on basic rhythm sections for a particular track or couple of tracks, while Marc would sit in the control room and fashion lyrics. Then we would add another guitar track by Fernando which would also be the main solo guitar track. I only had eight tracks so we needed to consider the technical restraints for each arrangement when recording the pre-production versions of the songs. Marc rarely had more than two tracks for all the vocals, and the drums were a single stereo mix. When it came time to do his vocals he’d schedule it for late at night after everyone had gone to bed. I would turn out all the studio lights and light candles around the microphone boom. Marc was usually very particular about requesting that it would be just he and I doing vocal tracks. He relied heavily on my opinions as to which takes were the best. Sometimes it was hard to decide because he was so consistent, a real perfectionist.

I also attended and played on the 24-track sessions at Bee Jay Recording Studio in Orlando later that year. But I think the “spartan” recording situations, compared to what they were used to recording in, and along with being placed in a very rural area (imagine putting a Swiss Metal rock band in the deep south of the US!), the combination of the grit of the studio and the remote locale gave the guys an extra edge in their music from that period in time. This was also about the time of the upcoming Headhunter Tour, which was complete with stage antics like when Little Dave (7 foot tall road manager) would don a leather vest and covered skull mask, and would at some point during the show, amble out on stage menacingly while wielding a huge hand-forged battle axe. Fernando would then take the axe from him and completely destroy an electric guitar and offer the remains to the by then screaming mob of a crowd. I recall the day the delivery truck pulled up to the studio and announced to me: “I’ve got this here order for you for the band KROKUS”. I signed the paper and he began unloading box after box of guitars. There was a Stratocaster copy guitar for each and every date of the upcoming tour. So an electric guitar was destroyed in every concert of that summer tour.

I spent many hours with the guys in the studio. Since we didn’t have a control room window I used a camera and monitor to see what was going on. I ran it through a VCR and have some pretty funny moments to remember from those times. The cameras seemed sort of natural to the band after a while and eventually they began to use the cameras themselves in creative ways. Sometimes I’d be looking down at the console for a moment and when I’d look back there would be no one in the picture. Then a pair of hands would appear out of no where and suddenly Marc’s face would be jammed into the lens. On another occasion, I remember the day that Mark Kohler was using the facilities during a break in recording. Apparently, one of our “studio cats” named Tammy had managed to get up in the false ceiling overhead in the bathroom. As Mark was calmly sitting there doing his business, the cat stepped on the translucent ceiling tile (where the lightbulb is located) and stepped on a false corner. In one fell swoop, the cat fell straight down into Mark’s lap. Fortunately he was reading a magazine at the time and the cat simply fell right into his open hands as he held the magazine. I don’t which was the more startled, Mark or poor Tammy!

As good as KROKUS was on stage – and they wereĀ GOODĀ – it was difficult to capture that live feel in the studio. I think we managed so well doing pre-production because the conditions were so spartan. Basic tracks. No air conditioning. It could be a real sweat box in that old studio in the prime of that Arkansas summer. We once rented giant fans mounted on steel poles and strategically placed them around the studio just to keep the boys cool during rehearsal or pre-production recording. As the summer days got more unbearable during July and August of 1982, we began to restrict rehearsal and recording to evening sessions. But it was still pretty hot inside at night, even with the fans blowing. I think part of the reason we captured that “live funk” on tape during pre-production was due to the conditions in the studio at the time. As I recall the band had a very difficult time duplicating the “sound” we somehow attained when it came time to record the “real” album in Florida. Even with 24 tracks I remember listening to the rough mixes and thinking to myself that they all seemed so clean and sterile. What was missing was the hot, sweaty feel from the original recordings. They really wanted the full production album to have that live grit they were accustomed to listening to on our pre-production session tapes. Producer Tom Allom had to resort to overdubbing LOTS of extra guitar tracks to bring back that live feel we captured here in Arkansas.


Bob Ketchum in front of tour bus in St. Louis – 1982I always tried to attend their nearby concerts when my schedule permitted it.Ā I will always cherish those years I spent working with them. Not because they were rock stars or any of that crap, but because they were professional musicians who treated me as an equal, and because they were all just really good people. I forged special friendships with Marc and Fern that for me still last to this day. Every once in a while I will drag out one of my old videotapes and watch and laugh until I have tears streaming down my face. It’s a good feeling.

My involvement with the band happened during the following timeline:Ā  (taken from the official KROKUS website)

Summer 1980
First USA tour – two months with Sammy Hagar, Cheap Trick, AC/DC & others. This is when I was first introduced to the band.

1981
The USA manager, Butch Stone, takes the band over. A new record deal with Arista is signed in the USA. Every year, 6-9 months touring in the USA, Canada, South America & Europe. Halls & arenas up to 20,000 people are sold out. Supporting acts of Krokus include artists like Gary Moore, Michael Bolton & Metallica. Millions of dollars flow & melt away during these big years.

1982
The Hallenstadion, in Zurich, is sold out weeks before the concert (over 10,000 people). Krokus is still the one & only Swiss band to sell out this legendary rock stadium in their home country. Another gold album is released: “One Vice At A Time.” After the following long & successful USA tour with Rainbow, Rush, Ted Nugent, amongst others, the drummer, Freddy Steady, has to leave the band.

1983
The album, “Headhunter,” sells over one million units in the USA alone, platinum!” A mega-tour with Def Leppard, & afterwards Judas Priest, helps to make them really big now. Unfortunately, at the height of Krokus’ career, internal fighting & mistakes by the management start to destroy the band. Chris von Rohr, the media-man, has to go.

1984
Krokus work with famous producers like Bruce Fairburn or Bob Rock. “The Blitz” goes gold in the USA & the band are invited to play an open-air concert in Chile to almost 100,000 fans.

1986
Another highlight in their history: The “Texas Jam” in Dallas. The Cotton Bowl is packed & Krokus is co-headlining with Van Halen.

1987
Increase of internal fighting. Break with the USA management. Krokus is burnt out! They change personnel almost every day & Fernando von Arb, the musical brain, leaves the band just after a last USA tour.

And that’s about where my association with the band stopped. Since Butch Stone wanted the band close to his home base, the decision to keep the band working on pre-production here in Arkansas was upheld until the group had a falling out with their US manager.


 


Vintage Krokus back patch with a frankly brilliant design based on their 1983 Headhunter album. The colours on this one are phenomenal and it has one of the best uses of silver glitter that I’ve ever seen. For the main design the skull looks imposing and dramatic with the mixture of dark and light/colour and black. This is one of my most wanted back patches ever!

KrokusĀ managed to eke out two gold albums and tour the world as a fearsome opening act and low-level headliner during their brief heyday in the early ’80s. Why they never achieved the multi-platinum heights of, say,Ā Scorpions,Ā Quiet RiotĀ or any of the other similarly hard-rocking, hard-partying, somewhat-ridiculous yet feverishly admired bands of the era is a mystery.

HeadhunterĀ arrived on April 25, 1983, as Exhibit A in their favor. Filled with loud, distorted guitars, punishing, cannon-shot drums, and theĀ Bon Scott-gargling-battery-acid vocals of singer Marc Storace, Krokus’ seventh LP fits in well with other over-the-top commercial metal records of the era and equals or surpasses many of them in terms of quality anthemic songs.

Take “Ready to Burn,” which closes Side 1, and starts with a revving engine that segues into a crushing guitar riff. Storace’s lyrics are kind of clichĆ© ā€“ is he referring to a car or a woman? Oh, it’s a car ā€“ but he delivers them with such conviction, it’s impossible to not crank up the volume and just let it all hit you. And wait ā€“ who’s that chiming in on the chorus?Ā Judas Priest‘sĀ Rob Halford.

“We were both working in the same studio,” Storace toldĀ CreemĀ in 1983. “We were doing ‘Ready to Burn,’ and Rob was next door working on a live Judas Priest tape for MTV. He heard the track, jumped into the sound booth, and just started singing along.”

“Eat the Rich” is another fist-in-the-air anthem, this time with income inequality as its central theme, years before it became a common term. Everything is laid out in the chorus, as the song’s title is repeated four times, with Storace interjecting,Ā “Life is a bitch”Ā and, more tellingly,Ā “Out of the palace and into the ditch.”

“It’s a science fiction song ā€“ a future vision about social imbalance, about the very rich and the very poor,” he toldĀ Creem. “You don’t have to go to India to see it; just take a look at the people in the Bronx. The song is about taking it away from the rich and giving it back.”

Perhaps Krokus’ hardscrabble climb in America, from nightclub to arena stages, served as some inspiration.

“Two years before [Headhunter] we had just landed [in the U.S.] from Switzerland and started doing the slog, like every new band,” Storace toldĀ Sounds Like New. They were “an opening act, playing 30 minutes in every godforsaken hellhole with front-row drunks screaming in our faces with smelly breath, and working our sweaty way up, gig by hard gig, coast to coast, slowly to the top.”

When it came time to write music forĀ Headhunter, Krokus holed up at their manager’s home, in an unlikely location. “We isolated ourselves in the middle of nowhere, out in Arkansas,” Storace explained toĀ Rock Music Star, “and there was this big, tin, corrugated iron [structure] ā€“ it was like an airplane hangar. We built a stage there, and it was really hot. I wrote most of the lyrics sitting outside on hot rocks, with suntan lotion [on] and a beer ā€“ a really nice atmosphere where nothing could disturb you and you could concentrate on the music. It was an amazing time and we had so much energy.”

Producer Tom Allom had worked extensively with Judas Priest and helmedĀ Def Leppard‘s debut. He met with the band, listened to their demos and made suggestions before everyone decamped to Florida for Bee Jay Recording Studios in Orlando. Storace recalls the setup Krokus used to makeĀ Headhunter.

“This was done in an old-school way, with an analog desk ā€“ a big, long desk ā€“ and a Studer tape machine, 32 tracks or whatever,” he told Rock Music Star. “And a huge studio behind the glass, where you had the drums set up and all these little compartments with glass, and everyone was like in his own little world. And we’d join through headphones and we went through all the songs.”

Storace claims he nailed the eventual single “Screaming in the Night” on the very first take. “I was at my peak then, you know?” he explained toĀ VWMusic. “I could sing circlesĀ [around]Ā  my highest note, and my highest notes ā€“ I was hitting four octaves on my best day.”

One of the early ’80s finest power ballads, “Screaming in the Night” is largely remembered today for its over-the-top video ā€“ a dystopian fantasy with Storace as the persecuted hero. Director Joe Dea “came up with this concept that reminds one of TheRoad WarriorĀ movie,” Storace told VWMusic. “It’s like after [a] holocaust or after the end of the world, or after a big nuclear war. Humankind has to [make] do with whatever’s left and you’re still fighting evil, as always.

“It was a great concept,” he added. “and what was really special to me, was the part where my chains are broken and I put on my Nikes and climb down the ladder into that diner, then go walking over all the guy’s breakfasts after seeing see my loved one is alive reading the news on T.V.Ā  Crossing dimensions!”

“Screaming in the Night” was one of threeĀ HeadhunterĀ tracks (along with “Eat the Rich” and a cover ofĀ Bachman-Turner Overdrive‘s “Stayed Awake All Night”) that hit the Top 40 of theĀ BillboardĀ Hot Mainstream Rock Tracks chart. The album itself reached No. 25 on theĀ BillboardĀ 200 album chart ā€“ the highest position Krokus ever achieved.


Band Line-Up HEADHUNTER
Headhunters: Fernando Von Arb (guitar) – Chris Von Rohr (bass) – Marc Storace (vocals) – Steve Pace (drums) – Mark Kohler (guitar)
T-Shirt FRONT
Official T-Shirt Merchandise Front & Back
T-Shirt BACK
Official Merchandise
More Official Merchandise: Alternate T-Shirt Front & Back
Official Merchandise 1983
Marc Fern Chris
The Core Of Krokus: Marc – Fernando – Chris
King Biscuit Radio Show
Chris in front of tour bus
Original KROKUS founder Chris Von Rohr in front of USA Tour Bus
Krokus Live
Marc Chris Fern Mark
Marc Storace – Chris Von Rohr – Fernando Von Arb – Mark Kohler
Steve Pace
Steve Pace
Westwood One Radio Show Ad
Headhunters
Fernando & Marc
Chris Von Rohr
Fern & Koki
Tour Manager LD Glover With Axe
Tour Manager “LD” Glover Ready To Hand Over Axe To Fernando
Fernando With Axe
Fernando Working The Crowd Before Destroying His Guitar With Axe
Headhunters At Large
Merchandise: Patch
Official Merchandise: HEADHUNTER Patch
Industry Magazine Ad
Chris 'Headhunter' Von Rohr
Chris “Headhunter” Von Rohr
Billboard Charts
Music Magazine “Billboard” Charts: “HEADHUNTER” jumps straight from zero to #28 the first week of release
Signed HEADHUNTER album
Screaming Lyrics
Clive Davis presents Gold Record Award for HEADHUNTER
RIAA Gold Records Award ceremony for “Headhunter” at Arista. In between Fernando and Marc the legendary Clive Davis.
Headhunters

Steve Pace (drums) – Mark Kohler (guitar) – Fernando Von Arb (guitar) – Chris Von Rohr (bass) – Marc Storace (vocals)

May 26th, 1983 – “During a stop of our HEADHUNTER tour in Nashville, we were invited by then Tennessee Governor Lamar Alexander [next to Marc] and presented with this certificate of honorary citizenship. An honor not bestowed on any other Swiss Band ever”.

April 25th, 1983 the album “Headhunter” was released. It shot from zero straight to #28 in the US “Billboard Charts” and earned us an RIAA Platinum Record Award in the USA as well as in Canada and Switzerland.

The track “Screaming in the Night” was our biggest hit to date, and is still played on classic rock radio stations all over the world.

Also the hits “Eat The Rich” and album title track “Headhunter”. Backing vocals by Judas Priest’s Rob Halford on “Ready To Burn” and Jimi Jamison of Cobra and Survivor fame on “Screaming In The Night”.

1983 USA “Headhunter” Tour (far left Mark Kohler, center Marc StoraceĀ and far right Fernando Von Arb)



Even the post millennial youth digs this album!

 

 


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