Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

1984 – V – Grace Under Pressure

If you are curious here are parts one, two, three and four of the 1984 series.

Pretty Maids – Red Hot And Heavy

I didn’t hear this album until the early two thousands. I had “Future World” on LP, however any other release by the band was available via an expensive IMPORT price of $50 to $70 Australian. And then Napster came along, and then Audio Galaxy, LimeWire and cloud sites like Rapid Share. Suddenly, people’s music collections were available everywhere and at any time.

For this album there was no dropping the needle, it was all about putting on my headphones, plugging them into the computer and pressing play to the mp3 tracks, lined up WINAMP.

It kicks off with what I know as the “Excalibur” theme, and others know as ‘O Fortuna’.

“Back To Back” and “Cold Killer” have cool riffs and show off their NWOBHM influences.

“Red Hot and Heavy” shows off it’s Thin Lizzy, Judas Priest and Scorpions influences.

“Waitin’ For The Time” and “A Place In The Night” are AOR Melodic Rock to a tee.

And that’s why I always enjoyed the albums from “Pretty Maids”. Like Dokken and Y&T, they lived somewhere in between heavy metal and hard rock and melodic pop.

Rush – Grace Under Pressure

Ernest Hemingway said “Courage is grace under pressure.”

And when you are pushing towards the mid 80s, Rush showed true courage in delivering another album full of synth rock. Hell, talk about courage, some songs don’t even feature any bass guitar.

“Distant Early Warning” has a keyboard riff which sounds excellent played on a distorted guitar.

“Afterimage” is my favourite track and “Red Sector A” has this riff from about the 1.10 mark, which makes me press repeat on this track.

This is also the track which has no bass guitar

“Are we the last ones left alive? Are we the only human beings to survive?”

And its these first three tracks which still get played to this day.

The Alan Parsons Project  – Ammonia Avenue

The album came out in February 1984 and it was meant to capitalize on the platinum success of “Eye In The Sky”. And although it went Gold, the album was seen as a failure. MTV was a game changer and if you looked like a studio band, you didn’t stand a chance with a new empowered generation of rock and metal heads.

But to me there are always a few cool tracks on APP albums which I can relate to.

On this one, “Let Me Go Home”, “Dancing On A High Wire” and Pipeline” are stand outs.

Chris DeBurgh – Man On The Line

Chris DeBurgh doesn’t get enough credit as a Rocker because his ballad, “Lady In Red” was so huge, it dwarfed everything else he released. Then again, each album he did release always had more ballads than rockers.

“The Ecstasy Of Flight (I Love The Night)” is the song which stood out for me and I remember hearing it on a music video show and taping it.

Midnight Oil – Red Sails In The Sunset

They write songs about Australia, our environment, our history, our culture and our attitudes.

And it resonated and connected with people.

“Kosciusko” and “When The Generals Talk” are the standouts here.

Meatloaf‘s “Bad Attitude” didn’t have anything earth shattering on it, but the title track and “Surfs Up” are derivative versions of previous Meatloaf songs and are a cool listen.

Billy Squier – Signs Of Life

It all comes back to the “Rock Me Tonite” video.

Cheesy; yes, terrible idea; yes, but did it really kill Squier’s career because in the 80s there was a lot of cheesy bad videos for artists.

Squier like many others had some success early on and then struggled to duplicate it. Twisted Sister comes to mind immediately and so does Quiet Riot. That’s not to say this album doesn’t have good songs, it’s just the audience had moved on.

“All Night Long” is excellent while “Reach For The Sky” has a feel and groove borrowed from The Police and Gotye used a similar groove and feel for “Somebody That I Used To Know”. Quick call the lawyers.

“Hand Me Downs” borrows from “Long Way To The Top” in the verses. Quick call the lawyers again.

Don Henley – Building The Perfect Beast

“The Boys Of Summer” was everywhere and what a song. I didn’t hear the rest of the album until the late 90s. Other tracks which stand out to me are “Not Enough Love In The World”, “Driving With Our Eyes Closed” and “Land Of The Living”.

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

The Record Vault – Avenged Sevenfold

It all started with Guitar World.

Synester Gates and Zacky Vengeance started to appear in the magazine and songs from the band started to appear in the transcription section. One of those songs was “The Beast And The Harlot” and I read the transcription. And I read it again and again and again. There was just so much stuff happening in the song.

So I sat down to play it, without even hearing the song. And I liked what I heard from playing it.

Then I went and downloaded their catalogue which at that point in time, consisted of “Sounding The Seventh Trumpet”, released in 2002, “Waking The Fallen”, released in 2003 and “City Of Evil”, released in 2005, which had the song in question as it’s opening track.

From here on, I purchased the self-titled album on release day, “Nightmare” also on release day and “Hail To The King” also on release day, while also going back and buying the albums I had downloaded. “The Stage” I still haven’t purchased in physical, however I will, purely to have it in my collection.

The “Waking The Fallen” album is all about “Second Heartbeat” to me and those last two minutes that kick in from 4.46 (you need to get through the screaming to taste the elixir). And that lead break from Synester Gates, that goes for the last 49 seconds of the song is the stuff of Guitar Heroes. 

“I Won’t See You Tonight” part 1 is up there as a cool second. And “Clairvoyant Disease” reminds me of Savatage post Jon Oliva era while “Unholy Confessions” has this Judas Priest like riff in the intro which hooks me in. I am pretty sure “Black Veil Brides” used that same riff for the song “Knives And Pens”. 

“Critical Acclaim” starts off the self-titled album released in 2007.

All the way from the east to the west we got this high society, Looking down on their very foundation, Constantly reminding us that our actions, Are the cause of all their problems

Pointing their fingers in every Direction and blaming their Own nation for who wins the elections They’ve never contributed a fucking thing to the Country they love to criticize

And what has changed since this song was written. The elite became more elite, they pay and bribe their way through life and for their dumb kids to enter college, they’ve been exposed as using tax havens to launder money and pay no tax and yet everyone else is a problem, except them.

“Almost Easy” is one of their best songs, and drummer “The Rev” does this double kick cymbal thing in it which is insane.

“Afterlife” has this lead break from Synester were he puts pedal to the metal at about the 4.15 mark. To be honest, he puts a lot of the 80’s guys to shame with his technique and feel, incorporating sweep picking, fast legato lines, supersonic picked alternate notes and tapping. 

“Lost” is another song which has a lead break to put all other lead breaks to shame in the outro. Super melodic, with whammy dives chucked in for effect.

“A Little Piece Of Heaven” is one of those defining songs of a band, which combines so many different things into a 7 minute song. You either like it or hate it or just put up with it.

The music box melodies of “Nightmare” kicks off the album that carries its name and after the death of “The Rev”, Mike Portnoy is on drums. It was a perfect fit music wise, maybe not personality wise. And in their pain of losing an important member, Avenged Sevenfold, created an excellent album.

“Welcome To The Family” has this Pantera “Cowboys From Hell” groove merged with Metallica’s “Sad But True” in the verses which I dig as the song transitions between these grooves to punk like choruses and melodic metal harmonies.

“Buried Alive” has an intro that rivals “Welcome Home” and “Fade To Black”. And from about the 4 minute mark its desk breaking time, as the song picks up with harmony leads, some supersonic shredding and sweeping and from about the 5 minute mark it’s Metallica time, ala “Orion”.

“Natural Born Killers” is a blast fest in the verses. “So Far Away” tells their sadness and “God Hates Us” tells their rage. “Victim” tells their sorrow and sadness with gospel voices throughout the song. “Save Me” tells their darkness.

The  burning flames kick off their best album and their most divisive due to all the songs sounding like a song that came before from a certain artist. Hell, this is how music works people. Take something that came before, build on it, put it in your creativity blender and the outcome is art. I’ve already covered this album in detail in a separate blog post.

“Shepherd of Fire” has “Black Sabbath”, “Trust” from Megadeth and “Enter Sandman” from Metallica. Lars Ulrich said the drum beat from “Enter Sandman” is based on AC/DC’s “Dirty Deeds Done Dirt Cheap” and the main “Sandman” riff is based on a song from a band called Excel. Take what came before and make it yours.

“Hail To The King” is AC/DC in the riffs, “Wasted Years” in a gypsy jazz fashion in the intro and “Sign Of The Cross” from Maiden in the Chorus.

“Doing Time” is Guns N Roses. “This Means War” is “Sad But True” from Metallica. “Requiem” is In Flames Euro Metal. “Heretic” is Megadeth’s “Symphony Of Destruction”. “Coming Home” is Iron Maiden.

Basically, music is a sum of our influences. A person that hasn’t heard a piece of music before can say that what they heard right now is original as they have not heard anything else before that. Live long enough and you would know that everything has been written and how we interpret those influences through our own individualism, culture and viewpoint is what makes it sound “original” and there is nothing wrong with that.

But we still have lawyers and heirs of artists or artists who didn’t have a hit, suing artists who had a hit because the songs sound similar. And these kinds of people but the viewpoint out there that the songs they wrote are so original, so unique, so free from influences that only they could have come up with that note pattern, feel and rhythms in the whole history of music.

And I haven’t purchased “The Stage” as yet as I’m streaming it. To me the album concept and themes hook me in and “The Stage”, “Higher” and “Roman Sky” are worthy additions. “Exist” is not far behind.

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Copyright, Derivative Works, Music, My Stories, Piracy, Stupidity

Copyright, It’s Been A While

It’s been a while since I’ve done a post on the insanity which Copyright has become.

Over at YouTube, the copyright holders like Warner Music Group (WMG) are sending takedown notices for a super popular video called “The Fans Deserve Better” which has been allowed to operate since July 2014. In this takedown, WMG even blocked it, so nobody could watch it.

All the video shows is an 11 second clip of Iron Maiden’s “The Number Of The Beast” to demonstrate what a great vocalist is and then 11 seconds of an Asking Alexandria song to demonstrate how bad a vocalist can be.

In my own backyard of Australia, the music labels and movie studios pumped up the political parties with lots of cash to get legislation passed and site blocking is a real thing in the land of Oz.

This time around, the music labels Sony, Universal, and Warner, with assistance from Music Rights Australia and the Australasian Performing Right Association, are asking Australia’s Federal Court to approve their demand for the ISP’s to block stream-ripping sites.

So the ISP’s need to be the Copyright Police for the labels, because they haven’t been able to figure out the stream ripping market, and why people stream rip and what relationship to music these stream rippers have.

Do they attend concerts? Do they buy any recorded music? Do they just want to have content? What do they do with the content?

I know people who have terabytes of books, movies and music on hard drives which they’ve never listened too, watched nor read and they will never have the time to devote to all of that culture. But they want to say they have it. And it makes them feel good. There are articles stating the same about people who hoard digitally.

Is site blocking really needed as the labels and studios profit and loss statements are looking pretty healthy.

Did you know that recorded revenue earned by the labels keeps going up and up and up?

Four years straight.

And of course streaming revenue was the star of the show, which offset the decline in physical and download revenues.

Along the way to these increases in revenue, something magical happened.

The record labels for a long time complained about Latin And South America being a haven of piracy activity. In previous blog posts I’ve mentioned how metal and rock bands continually tour these areas to massive crowds and the bands haven’t sold any recorded product in these areas. Basically the people were starved of legal offerings and resorted to bootleg recordings and then piracy.

Finally Spotify is allowed to open their servers for the people of these countries to stream and these areas along with Australia (which the labels class as another haven for piracy and needs more court blocks) have been the fastest growing markets.

The labels didn’t create this new income stream, the techies did, but hey, the techies are the bad guys here. And isn’t it funny when people are given the choice to stream at a super low price, the majority would pay for that. So instead of focusing on 90% of the music fans who do the right thing, the labels and their lobby groups believe the 10% who obtain music illegally is worth spending money on and to increase the price the other 90% pay for legal options.

Mmmm.

Speaking of the techies as the bad guys, you might have noticed headlines like “Spotify Sues Songwriters To Pay Less Royalties”. It’s all B.S. but with the way the internet spreads news and with people looking for someone to blame at their own failings in connecting with their fan base, these headlines spread like crazy.

What is happening is that Spotify and Amazon have taken issue with the U.S. Copyright Royalty Board (which should never ever exist), raising the royalty rate amount that Spotify needs to pay to the Copyright Holders. So instead of paying 10% of their revenue, they need to pay 15% of their revenue.

Spotify is not suing songwriters at all. What they and other streaming services are proposing is a different payment model.

And then you have Apple, which went from an innovative leader to meh, coming out in support of these increases, because hey, since streaming is a small portion of their bottom line, it can only help them out if their competitors close shop. 

And the solution to make users pay more, will get some people paying more, and the rest will return to torrents and stream ripping.

But, what everyone seems to forget is that the money in music is due to the relationship a customer has with the music and the artist. They determine the price they are willing to pay.

Here are a few articles on the Spotify vs The Royalty Board to form your own viewpoints on.

Rolling Stone article which summarises the facts without any bias.

Music Business Worldwide article that has Sony and Warner Music reps urging composes to fight Spotify’s royalty rate challenge.

A Vulture article which explains the facts even better than the Rolling Stone article.

Here is the rock and metal worlds response via Loudwire.

And let’s not forget the reapers hand hovering over “Blurred Lines”, the song written by Robin Thicke and Pharrel Williams, which had no infringing riffs or licks, but a funk feel similar to Marvin Gaye’s “Got To Give It Up”.

In this case, a homage to funk led to $5 million being paid to the heirs of Marvin Gaye plus 50% of all future earnings. And the worrisome part is, these kind of cases put the idea out there that Marvin Gaye was so original and free from influence and that his songs did not pay homage to any artist or style.

From a rock perspective it’s the same as Led Zep suing Greta Van Fleet over a song of theirs for having a rock feel similar to a Led Zep song.

Ed Sheeran is also going to court to defend “Thinking Out Loud,” from the heirs of Ed Townsend who co-wrote, Marvin Gaye’s “Let’s Get It On.”

A few years before that, Ed Sheeran’s song “Photograph” had a few extra writers added to it (out of court) as well. In this case, the writers of a song called “Amazing” believed their song is so original and free from influence that other artists couldn’t resist copying it (that’s sarcasm by the way). The fact that Sheeran’s song went huge and their amazing song didn’t, meant a writ needed to be served. 

In relation to “Thinking Out Loud”, it looks like another out of court settlement is on the cards and an extra songwriter who is dead, will be added to the credits of an Ed Sheeran song. Yep, Copyright was meant to expire when a person died, but not in this lifetime. They still get songwriting credits.

And these out of court settlements keep coming.

The most ridiculous one out of them all was where a person called Alisa Apps, took Universal Music Group and artist John Newman to court, because Newman’s song had the lyrics “I need to know now” in it, which is the same lyric line as her song.

Are you serious on this one?

Lucky the Justice system actually came to the party on this one and said you can’t copyright generic words or short phrases.

And finally, here is copyright as a shakedown tool, as collection agencies sue bars, nightclubs, restaurants and any place playing music over licensing fees.

In this case, the place in question is meant to owe BMI (a collection agency for 900K plus artists) $6,850. BMI alleges the organisation played music without a proper public license in place. I’m just curious for which songwriter is BMI collecting these monies for. Because when a collection agency sends employees to visit establishments and log the music they hear being played, it sure sounds like a shakedown than a warning or to educate business owners.

P.S. COPYRIGHT AS AN ENFORCEMENT TOOL

One last special Copyright case is how the RIAA, and the labels are suing an ISP for the fast speeds it offers because those high speeds foster piracy and it wouldn’t kick off the people responsible because it might damage their brand. I kid you not. I’m waiting for the day, when the makers of knives are sued because the sharpness of their knives foster greater damage to human organs when someone plunges it through skin in a fit of rage.

P.S.S. – COPYRIGHT AS AN ENFORCEMENT TOOL

People who create a tool that connects to the TV and internet and allows people to watch content they didn’t pay for are jailed for a total of 17 years. I’m waiting for the day when gun makers (a tool created by people) get jailed for 17 plus years, when their tools are used to take the life of people who didn’t want to die.

P.S.S.S – COPYRIGHT AS A MONOPOLY

And one of the outcomes of the Music Modernization Act was that a new music collective would be created for streaming royalties and suddenly we have groups fighting over who should be in it and lots of money going into different people’s hands to approve.

I thinks that’s all I have patience for. Till next time.

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

The Record Vault – Adema

 I never understood why bands got labelled as nu-metal. Maybe the culture stylists at magazines and labels wanted to create a new movement so they could say they created a new movement.

To me it’s all just music.

For the bands that started to make inroads in the early 2000’s, these bands had the same aggression and rage as a lot of the bands I grew up with. Just because they didn’t have guitar solos, had shorter hair, dressed differently and played syncopated riffs, it didn’t make them super different. Most of these bands had even bigger arena rock choruses than the bands who made it in the 80’s and they still had success without any form of MTV pushing them, which was very different to the 80’s as all the bands back then got to a million in sales on the backs of the exposure MTV generated.

I believe that the vocal tones of the Nu-Metal singers didn’t cross over to the hard rock audience as those audiences became used to Bruce Dickinson, Geoff Tate, Sebastian Bach, Ronnie James Dio, Tom Kiefer and David Coverdale style vocals. But to me, it’s the vocal tones which connected because I didn’t want to hear another clone of a hard rock vocalist.

Everyone

Everyone is the same
Quick to point the blame
All I know is that life is a struggle

The album came out in 2001, but I didn’t hear it until 2003. This song resonated straight away, with the above lyric line. Imagine a scene, with every single person in the room pointing the blame at someone else in the room.

Would anything sensible come out of it?

And for all of those college kids who had their parents clear the way for them, what struggle have they seen, because life is a struggle and if you can’t navigate the waters, dark places wait.

Blow It Away

The intro music reminded me of Godsmack and in the verses it has this Nirvana bass feel, with Korn like guitar embellishments.

Lyrically, it’s a nasty song about a relationship gone bad and if you’ve seen American Psycho, you will know what the singer is thinking.

Giving In

The intro hooks me in and it’s one of my favourite tracks on the album, about giving in to your addictions or giving in to the darkness that loneliness brings due to your addictions.

Shaking, lonely, and I am drinking again
Woke up tonight and no one’s here with me
I’m giving in to you

Freaking Out

The rapped verses (yes, rapped verses) have enough melody to keep me interested and the music/feel of the song reminds me of New Order.

The Way You Like It

My second favourite and the flow of the song hooks me in, with a catchy Chorus.

If you can see right through the greed and all your needs
You realize that you were just about as bad as me

People struggle their whole life to make and be somebody. When they do, they reckon that fame doesn’t change them. But it does change them and it changes the people around you.

Pain Inside

The chorus gospel effect on the guitars gets me interested and the verse drum and bass groove keeps the momentum going and once the power chords come crashing in for the Chorus, I’m sold.

This pain inside I can’t understand
This hate in life that will not go away (Go away)

And hate is real. It’s all over the world and it doesn’t look like it’s going away anytime soon.

Speculum

The acoustic guitar gets some use.

There’s so many people dying
You complain about your situation

Drowning

The intro riff hooks me in and then it’s all hell breaking loose.

It’s like a needle in my spine
It stings inside
Poisons me with time
I can’t deal with your lies

It’s very different to the 80s lyrics about blowjobs and sex.

Trust

I’m so alone, empty and lost, it’s easier to let you go
Time will erode the shame and the fault, it’s easier to let you go

We become focused on achieving something and when we do, we realize we also lost something along the way, like a relationship that you didn’t want to lose.

Adema released more albums after this one and I haven’t heard em, however I will call em up on Spotify in due time.

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Music, My Stories, Stupidity

Kill The Golden Goose

Back in 2011, there was an article I came across about how the movie studios tried to kill off Netflix.

If you look at the past, you will see the movie studios and record labels attempting to kill off anything that seems to threaten their 90 year old business model.

Any time a new technology or distribution method is successful, the movie studios and labels at first get greedy and either try to demand higher fees or more control of the new technology or the movie studios and labels try to kill the offering because of the monopolistic power they have in the market (plus a lot of politicians as well).

You just need to go back to the recording industry and when the labels negotiated a stake in Spotify. Of course, while the labels took ages to negotiate, YouTube as a by-product became the number one streaming service across the world and they pay even less than Spotify.

But the labels didn’t care about the payment per song, because they made serious coin on the licensing.

For example, if YouTube, Spotify, Apple or any other streaming service want to have music on their site, they need to pay the copyright holders (in this case the labels, because the majority of artists sell their rights to the labels in a crossroads deal with the devil) a large yearly fee for a certain period and then after that period is over, they re-negotiate again for another period.

Anyway, back in 2011, the movie studios had decided that Netflix had become too successful and it was time to put this streaming company back in its proper place as a rental company.

Remember when Netflix started losing popular content. Yep that was the movie studios playing their game by limiting what movies and TV shows they gave to Netflix as part of their licensing agreement.

As we know today, Netflix has countered this by producing more TV shows and movies than their counterparts anyway, in different languages and in any way the director would like it to be. A Netflix movie “Roma” won an Academy Award recently, and the director thanked Netflix for allowing him to make a movie, shot in black and white and spoken in Spanish. But old legacy directors like Spielberg want to ban Netflix from even appearing in Oscar nominations.

The problem that these studios made, and also the record labels, is that they believed the value was in the content. For some users of the service, those 10% of super fans that is the case, however,what does the other 80% care about. They care about the convenience. Netflix put up TV shows that no one had heard of and made that TV show part of the conversation. Spotify has the history (almost) of music at peoples fingertips and artists that no one has heard of are becoming popular.

Netflix is even more powerful than they’ve ever been, and their business model of bundling has changed the game. Disney merged with Fox to offer a streaming service to compete with Netflix. Warner Brothers merged with AT&T to offer a streaming service to compete with Netflix. Meanwhile, Netflix is trying to figure out ways to compete with Fortnite.

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Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

The Record Vault – Angel

You could be paying your dues for years and nothing happens, because no one wanted to get out of their comfort zone to believe in you and invest time to get you signed.

Gene Simmons at this time was prowling for bands. Van Halen was recording demos financed by Gene, Angel got a record deal with KISS’s label Casablanca because of Gene and he also told George Lynch he would never make it as a rock star if he didn’t change his name. He probably got the Lynch one wrong or right, depending on which definition of rockstar you believe in, the dictionary one or Gene’s definition of rock star.

Angel for me, was all about the path of Gregg Giuffria. It was his first label band, before he formed a band around his surname called Giuffria and then another band called House Of Lords. Throughout it all, he had small successes here and there. Actually Gregg Giuffria’s story is a typical “trying to make it” story with highs and lows.

You know the one, said artist plays in bars and clubs to get their name out and they finally get a label deal, however after five albums they have a debt they can’t pay back to the label and a record deal which no longer exists.

Then a new offer comes, to form a band around you instead of you being part of the band. But this is 1982 and metal and rock music was breaking through into the mainstream. And Giuffria, the band became a bus stop band for musicians who had bigger ambitions.

From the first Giuffria album, Craig Goldy on guitars, Gregg Giuffria on keys and Chuck Wright on bass are well known for their role in other bands, while on the second album Lanny Cordola on guitars is also known for his role in House Of Lords rather than Giuffria.

Giuffria however released two albums on MCA, had a third album ready to go but it didn’t get the green light.

And Gregg Giuffria was again at the cross roads. Good ole Gene came to the rescue again and basically said to Giuffria, “I’ll sign ya to my label, but you need to change the name of your band and you need to fire your lead singer”.

So in 1987 and after 14 years of trying to make it, Giuffria was still trying to make it.

And remember that third Giuffria album which didn’t get the green light, well they ended up on the debut “House Of Lords” album which did sound very derivative but was still a cool listen.

But let’s go back to the beginning.

On Earth As It’s On Heaven

Released in 1977. It’s their third album but it was the first album I heard from them and Eddie Kramer is on hand to produce.

The funky “White Lightning” musically hooks me in and a young Lenny Kravitz must have been listening to “Cast The First Stone” on repeat because he rewrote it many years later and called it “Are You Gonna Go My Way”.

White Hot

In 1978, Angel became like ELO for album number four.

Flying With Broken Wings (Without You)

The outro of this song is excellent.

It’s like Tesla heard this and combined both “Hey Jude” and this one for the ending of “Love Song”.

Over and Over

I feel like Zebra was listening to this song over and over again as Angel took a 70s derivative riff and turned it into their own song.

You Could Lose Me

A sleazy riff kicks it off and how cool is that synth lick after the Chorus.

Sinful

The fifth album is their best album released in 1978.

 

Don’t Take Your Love

The keys are prominent especially in the verses, however if one thing was clear in the 70s, the guitarists didn’t have it in them to become background musicians. So by default, you hear guitar, left, right and centre.

And the chorus is a perfect example of AOR pop with a riff which reminds me of a lot of songs and as I type this, I can’t remember any of them.

LA Lady

The honky tonk piano rocks, and the Rolling Stones influence is all over this song about an LA Lady who drives them crazy by the look in her eyes.

Just Can’t Take it

It’s just a good hard rock song which reminds me of REO Speedwagon.

Bad Time

The keys in the intro dominate, but that verse riff hooks me in and then that Chorus riff, keeps my interest going, followed by a wailing guitar lead, while the drums lay down a hard rock open/closed high hats beat which also borders on disco. Musically this song is excellent.

I’ll Bring The Whole World To Your Door

Yep, it’s got a Kashmir style riff in the verses, but not as exotic as the Led Zep version, however it then morphs into a pop rock song which is an excellent piece of song writing, merging different influences into a cohesive work.

I’ll Never Fall In Again

That Chorus keyboard riff is epic and it sounds like it’s in a 5/4 timing.

Wild And Hot

It’s like the best song Slade, Sweet or Alice Cooper wrote in 1978, which they didn’t write.

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