Of course, Homeworld 3 will deliver best-in-class fleet combat in fully-3D space. For music, Paul Ruskay reprises his role as composer to ensure we nail the iconic soundscape that fans remember. We aim to nail that incredible scale of space and conflict and deliver a powerful story that picks up just at the end of Homeworld 2. With Homeworld 3, our first priority is to deliver a game that immediately looks, sounds, and feels like Homeworld. The game has a funding campaign on fig.co that had a funding goal of $1 and at the time of writing this articled has got $335,030. He also growled his way through the autobiographical song I’ll Sleep When I’m Dead, before the album ended with a cover of Bo Diddley’s A Gunslinger, which had been a R&B hit in 1960 for an artist that Zevon admired deeply.Gearbox have finally announced Homeworld 3 at PAX West. Zevon also performed a slowed down version of Lawyers, Guns And Money along with high-energy versions of Excitable Boy and The Sin. Zevon’s version of his perennially popular Werewolves Of London is peppered with witty ad libs about the musicians Jackson Browne and James Taylor, and director Brian De Palma, whose violent film Dressed To Kill had been one of the most talked about releases that summer.
Gruel grabbed the microphone and gleefully announced, “Get up and dance, or I’ll kill ya.
During the rocking performance of Poor Poor Pitiful Me, one of the stand-out songs from Zevon’s self-titled debut album, Zevon halts midway through the track and drags George Gruel, his then “road manager and best friend”, on stage to fire up the crowd. The shows were produced by Zevon and Greg Ladanyi. The band, who called themselves Boulder, comprised Zevon on vocals, piano and 12-string guitar, Roberto Piñón on bass and backing vocals, Marty Stinger on drums, Zeke Zirngiebel on rhythm, lead, and slide guitar, Bob Harris on synthesiser and piano, and David Landau on lead guitar. For the live version of On Mohammed’s Radio, Zevon altered the original lyrics from “You know the sheriff’s got his problems, too/He will surely take them out on you” to “Ayatollah’s got his problems, too/Even Jimmy Carter’s got the highway blues”, in a tongue-in-cheek reference to the Iran hostage crisis that was dominating the news at the time.ĭespite being harvested from multiple performances, Stand In The Fire feels cohesive, which is partly down to the excellence and consistency of the terrific backing musicians, who were largely unknown at the time.
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Though Zevon was taking prescription painkillers and steroids for a strained nerve in his back, the singer-songwriter was remarkably full of energy for the gigs, in which he displayed his usual mordant wit. The album opened with the previously unreleased title track, which was immediately followed by Jenny Needs A Shooter, a song co-written with Zevon’s friend Bruce Springsteen. Stand In The Fire, which was released by Asylum Records on 26 December 1980, carried the dedication “For Marty”, in tribute to Zevon’s friend, the film director Martin Scorsese. Rescuing him while the whole world was watching.” Listen to Stand In The Fire Asked by Rolling Stone magazine how it felt to be on stage in front of an enthusiastic home crowd, Zevon replied, “Let’s just say that it was like rescuing the little boy who’d fallen through the ice.
He was in jocular form, joking that the concerts should be called “The Dog Ate The Part We Didn’t Like Tour”, and said he was happy to be back performing in Los Angeles, the city where he had grown up. Warren Zevon’s Stand In The Fire, recorded over a five-night period at the Roxy Theatre in West Hollywood in August 1980, is not only one of Zevon’s best albums, it is also one of the most affecting live albums of the decade.Īfter more than ten years of drink and drugs excesses, the newly-sober Zevon, then 33, was in a better place when it came to this run of summer gigs.
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