Monthly Archives: May 2021

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

2001 – Part 2.3: W.A.S.P – Unholy Terror

I felt like I was the only W.A.S.P fan around during this period. Most of my metal head friends had jumped off the W.A.S.P train after “The Headless Children” or “The Crimson Idol”. But I kept going. Actually my cousin Mega and I kept going.

“Unholy Terror” is album number nine, released in 2001 and produced by Blackie Lawless, which from reading some of the reviews online recently, people hated, as they found the production flat. But I never did have a problem with it, as most productions circa 2001 sounded like this.

The band at this time is Blackie on vocals and guitar, Chris Holmes on lead guitar, Mike Duda on bass and Stet Howland on drums. But, the album was started in February 1999 and finished at the start of 2001. So during that two year period, the band was a bit different. Which means, you get some other players.

The late Frankie Banali plays drums on “Hate To Love Me”, “Loco-Motive Man”, “Charisma”, “Raven Heart” and “Wasted White Boys”. Basically, my favourite tracks. And Roy Z plays lead guitar on “Who Slayed Baby Jane?” and “Wasted White Boys”.

But.

Chris Holmes left the band during the recording process for this album. And even though he is credited, Holmes has said in interviews he didn’t play a note on it.

Coming into this album, I didn’t like “K.F.D” and “Helldorado”.

So, I was skeptical.

In the CD booklet, Blackie writes that “this album is similar to “Headless” in some ways with the social and political references but “Unholy Terror” brings my religious upbringing into the picture”.

“Let It Roar”

It’s got that “Love Machine” vibe merged with “The Headless Children” solo section.

Come on and stand for what you believe
Oh you gotta get up on your feet
Or die on your knees
Let it Roar, cause I wanna be oh yeah

Before Kate Perry was telling people to roar, Blackie was doing it from way back.

“Hate To Love Me”

Blackie is channelling his Who and Jethro Tull influences.

“Loco-Motive Man”

It’s got that main theme from “The Crimson Idol” as its centrepiece. Think “Chainsaw Charlie” meets “Black Forever” from the “Still Not Black Enough” album. Its familiar, its flawless and I like it.

Oh God I’m coming
Read my words I’m coming
I got a gun I’m coming
You won’t hear me coming

Inspired by the recent rash of school shootings in America. Then again, it’s still relevant today. Nothing has really changed in that regard. If anything, they have gotten worse and worse.

“Unholy Terror”

Crowned messiah, I crucified him
And still ya don’t believe
I am Kings – I am queens
Unholy terrors me

It’s like a Tool song, with a repeating and percolating clean tone riff, sounding sinister as soon as Blackie’s whispered vocal line starts. As the vocal line builds in intensity, so does the guitar. And it bleeds into “Charisma” because “Unholy Terror/Charisma” is one song divided into two tracks.

“When I was writing the lyrics for “Charisma” and “Unholy Terror”, I was talking about the preconceived idea that most of us have about world figures such as entertainers, politicians or athletes that we admire.”
Blackie Lawless in the CD booklet to “Unholy Terror”.

“Charisma”

I’m hooked as soon as the John Bonham drum groove and Zeppelin like guitar groove (which reminds me of “When The Levee Breaks” merged with “Kashmir”) kick in. It’s probably one of Blackie’s best songs of the 2000’s era.

I wrap myself in the American Flag
And tell people I’m for which it stands
I’m coming back till you know I’m God
Till you believe, till you know my charisma

In the CD booklet, the first line is attributed to “Ronald Reagan” and the second line to “Richard Nixon and Al Gore”. Typical of politicians to proclaim themselves as Gods.

I’m a fear from a shadow land
I seduce you all
Here I come new messiah man
To bow to me, make me your God

In the CD booklet, these four lines are about “The Anti-Christ”.

I got them all marching to the rhythm
Believing me, oh yeah, their new religion
I’m a racist with a waving flag
Of domination with a fascist plan

These four lines are about “Adolf Hitler” which is bizarre, because if you didn’t have the CD booklet pointing that out and you heard this song for the first time in the last few years, you would attribute these to an ex U.S President that just got booted.

“Who Slayed Baby Jane?”

TELL ME NOW who slayed oh my Little Baby Jane
Rolling down the stairs
Her Little head has rolled away
Put it in my hands

This is the stuff that Alice Cooper writes. And it works in Blackie’s world as well.

“Euphoria”

It’s an instrumental.

It has this “Hold On To My Heart” feel merged with “Albatross” from Peter Green/Fleetwood Mac and “Planet Caravan” from Black Sabbath.

In the CD booklet, Blackie wrote that its “one of the greatest little tunes I’ve ever done. I love it. It’s music to get high by. Enjoy!”

“Raven Heart”

From the intro riff, which reminded me of “Schools Out”, I was hooked.

“Evermore”

It’s interchangeable with “Forever Free”. It’s actually an demo that goes back to “The Headless Children” album. The CD Booklet mentions that the song was originally titled “Circle Of Legend” and it was meant to act as a reprise to “Forever Free”.

Do the shadows of my memory
From a long ago time
Lead a path to the other lives of me
Souls of past great divides

The song is inspired by Native American Indian stories and mythology.

Who knows what kind of spirit world exists and if it does, how it all interconnects.

“Wasted White Boys”

Man, the whole W.A.S.P catalogue is in this song.

Throughout its six minutes, the song sounds like a derivative version of “Blind In Texas”, “On Your Knees”, “Dirty Balls”, “Mean Man”, “Arena Of Pleasure” and “I Am One”.

Wasted boys feeling no pain
Howl at the moon in the night
Just give me shooters and that demon cocaine
I’m the devil alright

And the outro is like “Free Bird”, with “Wild Child Holmes” allowed to spread his wings and fly on this one. Or was it Blackie wailing away or Roy Z. I guess we will never know the true story because those wasted white boys are keeping secrets.

Now if you haven’t heard W.A.S.P previously, go and checkout, “The Headless Children” and “The Crimson Idol” first. If you are a fan and liked those albums, you will like this album as well. It’s W.A.S.P or Blackie doing what they do best. Rocking out.

“The message here in this album is think for yourself, seek out answers for yourself and not be manipulated (as I was) by some guy, selling you “prepacked” beliefs whether they are religious or political (which often times go together)”.
Black Lawless in the CD Booklet to “Unholy Terror”

Crank it.

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Copyright, Influenced, Music, My Stories

The Week In Destroyer Of Harmony History – May 24 to May 30

4 Years Ago (2017)

There are a lot of stories of how the recording industry has been transformed since Napster and most of those stories centered around the losses of income to the record labels. They blamed the technology as its never the fault of the record labels.

Then came iTunes and the purchase of mp3’s became legal, putting money into the labels balance sheets. But the labels still complained.

Then YouTube appeared, then streaming came on the scene in Pandora, Grooveshark, Deezer and Spotify and the conversation shifted to the pennies paid per listen. The labels blamed the technology for the low payments because it’s never the labels fault.

In the end if you are signed to a label, creating music which is being listened too and are not getting paid, your issue is with your employer, the record label.

But it’s never the record labels fault.

“We sound like cocaine” said Bjorn Strid, the singer from The Night Flight Orchestra.

If you read this blog, you will know of my appreciation for The Night Flight Orchestra.

It all started in 2012 with the excellent debut. “Internal Affairs” and it continued in 2015, with “Skyline Whispers” and in 2017, we have “Amber Galactic”, which you can read my review here.

Artist Don Brautigam passed away and I wrote about him here and here.

If you’ve seen the Metallica “Master Of Puppets” or the Motley Crue “Dr Feelgood” covers, then you’ve seen his work.

The album cover is a forgotten art form, but man, it’s an important one. Once upon a time, the look of an album cover would be the deciding vote if a person outlaid their money.

It carried the brand of the band.

It was the first thing that spoke to the music buyer. And as time has gone on, the artists who created some of the iconic covers are never mentioned.

8 Years Ago (2013)

I was listening to Vaudeville. They merge the styles from Muse, Deftones and Radiohead with Hard Rock. It sounds beautiful and original.
And if you want an entry point into the band, check out the song “Restless Souls”.

Will you stand up
And fight against their wrath
Or will you run
Until there’s nothing left

Their first album “Dismantle The Sky” came out in 2009. The next album “Vendetta” came out in 2012, and this is the album with “Restless Souls”. In March 2013, they released an EP called “House of The Rising Sun”.

And after I wrote this post they released “Masquerade Part 1” in 2014 and “Masquerade Part 2” in 2015.

Which I didn’t know about. So I have some listening to do.

Daft Punk entered the charts this week in 2013 at Number 1, moving 339,000 copies of their “Random Access Memories”.

And streaming/digital was king as 65% of Daft Punk’s sales came from digital sources. And I was thinking, why couldn’t metal and rock artists get these kind of numbers.

And Victory Records were in the news again about shitting on artists.

It first began in August 2006, when Hawthorne Heights filed a lawsuit against Victory Records, accusing the label of creative accounting practices, unpaid royalties and for damaging the band’s reputation and relationship with their fans.

In 2011, A Day To Remember also filed a suit against Victory Records for unpaid royalties.

And in 2013, Streetlight Manifesto is telling their fans to not purchase the album from any physical and online retailers and to only purchase merchandise from the band’s website because of their dispute with Victory.

After this post, in 2017, another band called “Darkest Hour” said that they never received a penny from their Victory contract.

And to slap the artists in the face even more, it sold for more than $30 million in 2019 and the artists didn’t get a cent from the sale.

TesseracT is one band that really got my attention and you can read my review of their excellent “Altered State” album here.

Dream Theater announced a “Live At Luna Park” DVD/CD release in February 2013 for a May 2013 release. May was almost at its end and no news had been forthcoming.

Well the release finally came out in November/December of that year.

And people were getting arrested and locked away for copyright offenses. Their jail terms for non violent crimes were longer than violent crimes.

And Police Departments were not doing any investigation of their own. They simple took the evidence of the movie studios and record labels as being true and correct.

“Draw The Line” from Disciple was doing the rounds.

This is where I draw the line
This is where the old me dies
Light a match, let it burn, kiss it goodbye
Give it up, what I was, this is where I draw the line

I always like to write posts that highlight how certain songs are inspired by other songs. You can read my post called “The Kashmir Effect”.

And I started a new series called “Classic Album Closing Songs”, thinking it will be a monthly post. And I’ve only done one.

Which actually covered a few albums.

Like “Diary Of A Madman” (1981), “Hallowed Be Thy Name” (1982), “Who We Are” (2011), “S.M.F” (1984), “Shogun” (2008), “Aerials” (2001) and “The Count Of Tuscany” (2009)

And “What About Now” disappeared from the charts and the sales.

Bon Jovi (the band) spent over 5 months recording and writing this album, a few more months promoting it, only to have it do a run of 10 weeks before it disappeared.

From Bon Jovi I went to Megadeth and the lyrics of Dave Mustaine.

And my iPod shuffle was on fire with its selection so I wrote about “Chainsaw Charlie (Murders In The New Morgue)”, “California Morning”, “Crazy Train”, “Caught In The Middle”, “Caustic Are The Ties That Bind” and “Cardiff”.

Well that’s another wrap for another week.

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Australian Method Series: Lord – Undercovers, Vol 1

I dig Lord.

The band is a natural evolution from the band Dungeon, who sounded more in the power and thrash metal style. Lord is like the classic metal and rock sound I grew up with, and I wouldn’t have it any other way.

We did a some shows with em back in 2010 while they were out supporting their “Set In Stone” album in our hometown of Wollongong. Otherwise known as “The Gong”.

I’ve also seen Lord live a few times opening for overseas acts and on their own run of shows.

The band is currently made up of Lord Tim on lead vocals, guitar and keyboards, Andy Dowling on bass and Mark Furtner on guitar.

“Undercovers” is a 2021 release.

This review is based on the Spotify release. To get the full version (23 songs deluxe), you need to go to Bandcamp.

To The Moon And Back

From Savage Garden.

It’s an Aussie Pop classic. Darren Hayes co-write the song and on Twitter he mentioned how there is a section of fans who like heavy metal and Savage Garden and Lord has given em, an awesome Metal version of the song.

Judas Be My Guide

From Iron Maiden.

That’s how quickly Tim can change vocal styles. From pop rock to Bruce Dickinson.

“Fear Of The Dark” album was maligned for sounding too hard rock but I disagree. To me, it sounded like Iron Maiden.

Send Me An Angel

From Real Life.

There is an 80s like synth as the main riff that makes me think of “Sweet Dreams” from Eurythmics.

I remember this from the “Rad” soundtrack.

Shattered

From Pantera.

This song was Pantera doing Judas Priest on their major label debut. Even Anslemo’s vocals mirrored Rob Halford.

Well Lord Tim is an unbelievable vocalist, so his Halford vocal style was all on show to be heard.

Hard To Love

Readers of this blog know that I have a lot of time for Harem Scarem and their underrated and excellent guitarist Pete Lesperance.

This song is from their debut and Lord don’t mess with perfection much, nailing every part of the song musically and vocally.

(I Just) Died In Your Arms Tonight

Lord Tim passes the vocal duties to bass player, Andy Dowling.

This song is from Cutting Crew.

I always liked the melodic rock overtones of this song and I still like it to this day.

Reckless

From Judas Priest and the much maligned “Turbo” album.

But.

I like the “Turbo” album. And this version is as powerful as the original with a modern mix. If you like Judas Priest you would want to hear this.

I Want Out (Live)

From Helloween.

It’s faster and energetic. They always delivered in the live arena.

Touch The Fire

From Icehouse.

It’s an Aussie classic and Lord make it a melodic rock classic.

Break The Ice

From John Farnham.

This is an excellent cover of Farnham’s melodic rock era when he was cashing in and singing songs for 80s movies. Before “You’re The Voice” took over the charts around the world.

This song is also from the “Rad” soundtrack.

On A Night Like This

From Kylie Minogue.

Check out the hilarious piss take video clip on YouTube.

Bassist Andy Dowling also has a podcast running called “Nod to the Old School”. Here is the Spotify link.

Finally if you like your 80s hard rock and heavy metal than Lord’s music is waiting for you to invest some time.

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2001 – Part 2.2: Savatage – Poets And Madmen

I grew up with “Gutter Ballet” and “Streets”. I owned those albums and I played em like I owned em.

Constantly.

My cousin Mega, was also a fan. He’s older than me by 4 years and had more cash, so he had “Hall Of The Mountain King”, “Edge Of Thorns”, “Handful Of Rain”, “The Wake Of Magellan” and “Dead Winter Dead”. Of course, my trusty TDK tapes didn’t fail me in copying those albums, until the time came when I had the dollars to buy em myself.

From a vocal style point of view, I didn’t mind Jon Oliva or Zachary Stevens. Both offered different styles. But I was heaps bummed when Criss Oliva died in a head on car crash with a drunk driver. His guitar playing was and still is, inspirational. His work on the “Gutter Ballet” album is up there for me.

“Poets and Madmen” was hard to get in Australia. Released in 2001, there wasn’t a lot of brick and mortar shops looking to import Savatage and zero distributors to release it locally. So studio album number 11 remained elusive. It didn’t help matters that Atlantic Records dropped them and their German label was still seen as an “IMPORT” label in Australia. But Mega was always resourceful and he got it, albeit a few years later. He called to tell me about it, but by then, I also had a copy of it, via AudioGalaxy.

The album had a last minute concept added, inspired by the career and death of South African photographer Kevin Carter, who committed suicide by carbon monoxide poisoning, a few months after winning the Pulitzer Prize for his “The Vulture and the Little Girl” photo, of a frail famine stricken child, who had collapsed on the ground with a vulture in the background, waiting. This photo also caused an uproar about the ethics of photographers.

Is the shot more important than the welfare of a child?

“Stay With Me Awhile”

The outro lead break by Al Pitrelli (who actually left the band to join Megadeth) reminds me of “Empty Rooms” from Gary Moore.

“There In The Silence”

An 80’s like synth lead kicks off the song, before a foot stomping groove kicks in.

The lead break here from Chris Caffery is guitar hero worthy

“Commissar”

The symphonic elements to kick off the song are excellent.

Then it goes into an Iron Maiden like riff while Oliva delivers a schizophrenic King Diamond like vocal.

And the lead breaks are excellent. The first part of the main solo and the outro is Al Pitrelli and the others are Caffery.

“Morphine Child”

One of my favourite riffs. Its foot stomping, head banging heavy metal. It reminds me of classic Savatage, even “Handful Of Rain” is in this song.

The main solo is Al Pitrelli and its one of those special album songs which has the multi-layered counterpoint vocals.

They sort of go something like this.

There is a bunch of voices repeating one word, another group of voices repeating a different melody, another group of voices doing something else and another group doing something different and blended in they all seem to work.

They started this kind of counterpoint vocal arrangement with “Chance” on the “Edge Of Thorns” album, when Zachary Stevens was the singer. In order to pull it off for this album, three other singers came in.

“The Rumour”

The main solo is Al Pitrelli. I had to mention it.

“Surrender”

It’s a haunting piano riff and vocal kicks it off, before the metal comes. The lead break from Caffery has some massive sweeps happening,

“Back To A Reason”

The first two minutes and twenty seconds is country rock awesomeness as a piano like Free Bird. Then it changes like Jekyll and Hyde, similar to “New York City, Don’t Mean Nothing”. And if there is a fault of the album is that all of the songs move between these kind of moods all too regularly.

The by-product of Savatage existing is Trans-Siberian Orchestra. And that project had just started to play to a lot of people, so clearly the inspiration for Savatage was not there while Oliva and O’Neill started to focus on TSO.

And with this album, Savatage signed off.

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The Record Vault: Dokken – Back In The Streets

“Back in the Streets” is a bootleg released in 1989 by a German label who had apparently stolen the demos from Don Dokken back in the day.

Well that demo must have been found because these recordings also ended up on “The Lost Tapes”.

While the songs are written by Don and George Lynch, only Don plays on this album along with drummer Gary Holland at far left, and guitarist Greg Leon second from the left, both former members of the band “Suite 19”. At far right is bassist Gary Link.

But the band members mentioned on the back gives the buyer an impression that George Lynch, Mick Brown and Juan Croucier are actually playing on it.

But there not.

In the bottom writings there is a line which states; “Reminder to Don Dokken for not returning Thomas’ vintage 100 W 4 x 12 Marshall Cab”.

Maybe this is why the EP bootleg was released, as a F.U to Don Dokken?

Even though the band, Dokken had broken up at this point, people were still interested in their music and like me, purchased this as soon as it hit the streets.

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The Record Vault: Chimaira – The Dehumanizing Process

“And the minute you get a record deal, all the fun is stripped away. You start analyzing music in a different way. You don’t listen to it for the enjoyment of listening to it, you don’t play it for the enjoyment of playing it”.

“They (the record label reps) will call you up and say, “hey did you hear this new record, maybe you should write a song like it.”

That’s the way “The Dehumanizing Process” documentary starts off.

I was in a band between 1999 and 2005. The singer/guitarist of that band was into the whole Groove metal scene and he burned me the “The Impossibility Of Reason” album which is covered here in the documentary.

And it’s the only thing I own from Chimaira.

The DVD package has the excellent 90 minute documentary, a live concert, the band’s music videos (up to 2004) and a nine track CD, called “This Present Darkness” which is the bands 1999 independent album.

The band went on to sign with Roadrunner Records and released the “Pass out of Existence” album in 2001. It sold okay and they got another chance from Roadrunner Records to do another album.

All the band members were really unhappy with their last album “Pass Out Of Existence” as it was a Nu-Metal album they were pressured to make.

“The Impossibility of Reason” came out in 2003 and you get to see the ending of one journey and the start of a new one in the 90 minutes documentary. Even if you don’t like the band the documentary is worth watching and it’s detailed.

By sticking to their guns and telling the label to get stuffed, Chimaira delivered a career defining album.

The live show is from the tour, filmed in Holland. Watch it, just for the “Wall Of Death”.

The band would do one more Roadrunner album in 2005. Then they got dropped. Signing to different labels, they kept releasing albums up to 2013. And the line up was always evolving with vocalist Mark Hunter the only original member left at the time.

But in 2017, the original band members returned for a few reunion shows and at the moment they are looking at doing a few more.

In between, vocalist Mark Hunter became a journalist for various metal mags and his social media accounts are very active with his views on the music industry and other opinions.

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2001 – Part 2.1: Tool – Lateralus

This album is huge in my life.

Apart from the great listening experience it also changed the way I played and wrote songs. After this album, I was okay with jamming on a groove instead of soloing.

This album joined albums like “Tribute”, “Powerslave”, “Somewhere In Time”, “Appetite For Destruction”, “Slave To The Grind”, “The Great Radio Controversy”, “And Justice For All”, “Metallica Black Album”, “5150”, “Hysteria”, “Wicked Sensation”, “No More Tears” and “Images And Words” as my “Bible” albums. These “Bible” albums are albums that I devoured, learning the riffs and the licks.

Tool is Maynard James Keenan on vocals, Adam Jones on guitar, Justin Chancellor on bass and Danny Carey on drums. Production is handled by David Bottrill.

The album debuted at No. 1 on the Billboard 200 chart. It went to No. 1 in Australia. In the U.S its certified as 3x Platinum and in Australia it’s also certified as Platinum. People were listening and unable to turn it off. Even on streaming services, the song “Schism” has only been on Spotify just under two years and it’s at 49.3 million streams, And it’s a 8 minute song.

The album is a product of the members being at the peak of their creativity and a four year label dispute.

At the time the band was critical of file sharing, so as part of the marketing for the album, they announced a different album title and a bogus 12 song track list, with stupid titles like “Encephatalis” and “Coeliacus”. Of course, the unregulated Wild West of file sharing sites, were flooded with bogus files bearing the titles’ names. It wasn’t until a month later that the band revealed the real album name and that the name “Systema Encéphale” and the track list had been a bunch of bullshit.

CD’s can pack 79 minutes of music and Tool gave em a few seconds back. Because at 78 minutes and 51 seconds long, it’s got every groove and landscape packed in across the 13 tracks. And to think that they kept editing the album at the mastering stage to get it under 79 minutes.

The Grudge

The whine of a machine starting up and it all comes crashing in, the toms are syncopated with the guitar riff and the bass is unique, taking the lead here to outline a different melody.

Once the vocals kick in with “Wear the grudge like a crown of negativity / Calculate what we will or will not tolerate”, they syncopate with the guitar riff. Maynard is telling ya, don’t let your grudges hold you back.

At 1.22, the song changes. It takes you into uncharted territory. The previous landscape is gone, in the rear-view mirror. And we are into the verse.

Clutch it like a cornerstone
Otherwise, it all comes down
Terrified of being wrong
Ultimatum prison cell

You can’t imagine your life without the grudge you might have against the person who wronged you, the scarlet letterman. And what if your grudge isn’t justified and you have been wrong the whole time. You don’t want to be in that position, so you keep holding onto the grudge.

The song changes again after the bridge, with the vocal melody of “Choose to let this go”. The riff is heavy, Sabbath like heavy.

Give away the stone
Let the waters kiss and transmutate
These leaden grudges into gold

Let the burden go, it’s okay. Don’t let your hate and prejudices define you anymore.

The song then percolates and builds from 6.25 as the intro riff returns. Then there is silence and just the bass. And then an explosion of music from the 7 minute mark as Maynard belts out a scream that he carries for 24 seconds.

Studio trickery. Maybe.

The last 30 seconds is how you end a song. Listen to it. You will not be disappointed.

The Patient

A creeping guitar riff starts the song off. At the Sydney concert I watched, Maynard did say the song is about the vampires that you come across in your life, who try to get you down.

But I’m still right here
Giving blood, keeping faith
And I’m still right here

Wait it out
Gonna wait it out
Be patient (wait it out)

The vampires could be anything. The education system, society, the corporations, the government, a friend, a lover, a family member. Be patient. Everyone comes undone eventually.

Schism

8 power chords are played on the bass, then silence for a few seconds, before the iconic bass riff starts the song. Justin Chancellor announces himself as a bass hero.

I know the pieces fit cause I watched them tumble down
No fault, none to blame, it doesn’t mean I don’t desire
To point the finger, blame the other, watch the temple topple over
To bring the pieces back together, rediscover communication

This meaning from Songmeanings sums it all up.

Once upon a time, all religions were the right one, than, they fell apart. The pieces are now corrupt, moulded shadows of the once great temple. This song says if the pieces don’t communicate with each other than we are doomed.

Parabol/Parabola

They are two tracks on the album. But they exist as one as the last note of “Parabol” flows into “Parabola”

The three minutes of “Parabol” feels like I’m in the vast plains of the Middle East, looking at the night sky.

The Pre Chorus and Chorus of “Parabola” echo Maynard’s work with A Perfect Circle.

This body holding me, reminding me that I am not alone in
This body makes me feel eternal
All this pain is an illusion

Live in the now people. It’s easier said than done. I know people who can’t let go of the past. It consumes them to the stage of insanity. They feel wronged. But all this pain a person feels focusing on the past is an illusion. It’s not real, it manifests in the brain. The pain that you think you are experiencing will pass.

At 2.04 it changes from being a standard hard rock song into a typical Tool song.

At 3.58 the bass takes over for a brief moment before the band kicks in, setting up the finale, the last 2 minutes.

At 4.40, a Black Sabbath fuzzed out riff kicks in. it plays while the drums play like a ceremonial fill.

Ticks And Leeches

A drum pattern kicks off the song. The bass kicks in, with a riff that is played along with the bass drum. It’s weird and off putting. Then the guitars kick in with some repeating single notes, the bass gets busier and so do the drums. By the 50 second mark, the double kick is frantic.

And then it changes for the verses.

Maynard’s melody is bordering on the periphery like a chainsaw.

Hope this is what you wanted
Hope this is what you had in mind
Cause this is what you’re getting
I hope you’re choking
I hope you choke on this

How good is that that Pre Chorus and Chorus riff, when Maynard is singing the melody of “hope this is what you wanted” and “I hope your choking”.

At 3.24 it changes into a clean tone guitar riff that keeps repeating forever. It percolates up to the 5.58 minute mark, before it explodes for the final 2 minutes.

Got nothing left to give to you

Every person with a dream or a goal has ticks and leeches waiting to suck em dry. Even good old Mother Nature will have nothing left to give us except floods, droughts and fire, for the humans are parasites here, sucking the wealth of resources dry for profit.

Then the massive ending from 7.20. The double kick drums are relentless, that Pre Chorus/Chorus riff kicks in and Maynard starts with his “is this what you wanted” melody.

Lateralus

The epic title track at 9 minutes and 22 seconds long.

The clean guitar riff is basic and it keeps repeating. Then the bass comes in and the drums, an explosion of poly rhythms and exploration.

How good is the main riff from 1.15? It’s a metal tour de force.

At 4.50, it’s just the bass, playing a triplet of notes with a brief pause.

And the intro guitar kicks in again.

And it keeps building.

Then at 7.17, the best part of the song kicks in. The drums play a simple beat, while the guitar is staccato like and the bass is doing something different, highlighting the vocal melody with a choice selection of notes.

It needs to be heard to be understood.

Reaching out to embrace the random.
Reaching out to embrace whatever may come.

A song in which the “spirit” lives outside the norms but the person is still human and divine at the same time. They touch on these kind of themes with “Forty Six & 2” from the “Aenima” album.

Listen to it and read the lyrics. It’s like a complex novel coming to life.

Disposition/Reflection/Triad/Faaip De Oiad

The final tracks are part of a large suite but separate tracks on the album.

“Disposition” is like a tribal drum groove with a clean tone guitar riff. It only goes for about 3 minutes and 20 seconds.

It carries into “Reflection” which is the centrepiece at 11 minutes. It has a drum groove that evokes the Middle East, another iconic bass line, synths and an exotic guitar and vocal line.

So crucify the ego, before it’s far too late
To leave behind this place so negative and blind and cynical
And you will come to find that we are all one mind
Capable of all that’s imagined and all conceivable
Just let the light touch you
And let the words spill through
And let them pass right through
Bringing out our hope and reason

It’s an incredible Tool song.

How good is the line “capable of all that’s imagined and conceivable”?

It’s the same mantra put forward by the self-development industry. You know the one, the 10,000 hours, showing grit, emotional intelligence, a growth mindset, resilience and creating a culture in which people feel safe to express their thoughts and everything will turn out okay.

From 8.28 it really kicks into a groove. Watching it live, is a memorable experience.

“Triad”

A 6 minute conclusion as the vast plains of the Middle East are back.

“Faaip de Oiad” is Enochian for “The Voice of God”. Now if you’re wondering what Enochian is, I also had to look it up when I came across it years ago. It’s basically an occult language that two spiritualists from England came up with, who claim angels divined this language to them.

As for the song, it’s just abstract noise and nothing worth talking about.

I was introduced to Tool in 1998. My best man burnt me the “Aenima” CD. I immediately got it. It was exactly what I was looking for. I didn’t want the album to end.

This album has sustained 20 years. It’s not something you play a track from and then forget about, it’s something you go deeper into. It’s a journey.

They covered so much ground with this album and “Aenima”, that they next two albums that came after in “10,000 Days” and “Fear Inoculum” got stigmatised as sounding like “Aenima” and “Lateralus”.

And progressive rock/metal is meant to be dead. But Tool doesn’t fit into that category. It’s a little bit of metal, a little bit of rock, a little bit of progressive in its time changes and song structures and in its lyrics, they push different boundaries and messages. And Tool doesn’t care what the labels want or what the charts like. They push their own envelope, catering to their own needs first and taking their listeners with them.

Most of Tool’s songs since the “Aenima” album, are over seven minutes long. Their most recent album “Fear Inoculum” has every song over ten minutes. From a streaming point of view, this is a bad idea, as one Tool song from start to finish equates to three to four pop songs. And in an hour, you will hear a 15 minute Tool song 4 times whereas a 3 minute pop song will be heard 20 times.

So when you see a Tool song in the multi-millions, just think of the time invested listening to these songs.

If you hate Tool, then keep ignoring em. If you are into hip-hop only, ignore em. If you like your 3 to 4 minute pop fix, ignore em. But if you are a rocker and you liked how bands used to experiment with a song or two on an album, then you need to check out Tool.

And like Tool, I couldn’t edit this post any shorter. It is what it is, because it is.

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A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, Unsung Heroes

1976 – Part 1.6: Bob Seger – Night Moves

I always have time for a little bit of Bob Seger. “Old Time Rock N Roll” was the song that got his name into my consciousness. “Turn The Page” was another, but I heard the Metallica version first. Actually, that whole “Garage Inc.” album from Metallica, got me excited to check out bands that I wasn’t sure I should check out.

So “Night Moves” is album number 9. For a person who lived on the road, the cover is perfect, with his image and the spotlight in the background.

At the age of 30, Seger did good live business in middle America, but couldn’t break through nationally.

Then he dropped the “Night Moves” album, a road trip of nostalgia and a soundtrack for many growing up in the 70’s. I didn’t hear this album until the 90’s. Such a long time after its release but if I heard this in the 80’s I wouldn’t have liked it, as I was head over heels in love with hard rock and heavy metal.

“Rock and Roll Never Forgets”

It’s a 12 bar blues romp.

The catchcry of “come back baby, rock and roll never forgets” is truth. As fans of the music and its lifestyle, we can dabble our tastes in other styles but we always come back to our rock and roll roots like we never left.

“Oh the bands still playing it loud and lean / Listen to the guitar player making it scream”

“Night Moves”

When I was doing some reading on Bob Seger, a lot of reviews when the album came out, kept mentioning how his songs sound like other songs that came before. And I’m thinking, perfect, that’s just the way I like it.

“I used her, she used me / But neither one cared / We were gettin’ our share / Workin’ on our night moves”

The strummed acoustic guitar kicks it off, but it’s Seger’s phrasing and vocal delivery, almost “American Pie” like.

The narrative of the secret getaways of teenage lovers takes its cues from Van Morrison and his “Brown Eyed Girl” and the movie “American Graffiti”. Bruce Springsteen’s “Jungleland” from “Born To Run” can also be heard, a coincidence or a fact that both artists have the same influences.

“The Fire Down Below”

It feels like a song from The Eagles “Hotel California” album which came a few years after. Reading comments on the YouTube video of the song, led me to a 60’s R&B singer called Johnny Taylor, and his songs “Who’s Makin’ Love” and “Take Care of Your Homework”. And one comment even mentioned that the Silver Bullet Band is tight in the “Brown Sugar” style of the Rolling Stones.

All I can say is, take what has come before and make it better.

“Sunburst”

“Sunburst” has inspirations from the Beatles “Dear Prudence” and Rod Stewart’s “Handbags And Gladrags”.

Stick around for the change at the 2.10 minute mark when it gets a bit metal like.

“Gaze on the sunburst / His weapon at his side / He flashes it with pride / Before his legions”

What’s this. Lyrics about the wood finish on a guitar. Before the term “Guitar Hero” even existed.

“Sunspot Baby”

Another 12 bar blues romp, that he would really nail with “Old Time Rock’N’Roll”.

“She packed up her bags and she took off down the road / Left me here stranded with the bills she owed / She gave me a false address / Took off with my American Express”

Story telling at its best about a lover who did a number on him as she charged up a fortune on his credit card.

“Mainstreet”

It could be about any town in any part of the world, as we all have the same main streets and a story or two of someone who tried to make it out.

The guitar melodies and leads on this one are excellent.

“And sometimes even now, when I’m feeling lonely and beat / I drift back in time and I find my feet / Down on Mainstreet”

That’s right, you can never escape your hometown. You know every corner, every crack on the road, every curb and every smell. It’s in your DNA.

“Come to Poppa”

It smoulders along with its “Cocaine” groove.

“If you need a pacifier / Call me anytime”

This is more crude than any lyric that the PMRC found offensive in a decades time for their “Filthy 15” list.

“Suck on that”, I say.

“Ship of Fools”

The Eagles influence is present again with “Lyin’ Eyes” and “Take It Easy” combining to become “Ship Of Fools”.

“Mary Lou”

It’s a cover and it sounds like Seals and Crofts “Your Mama Don’t Dance” or “Jailhouse Rock” or “Smokin In The Boys Room”.

You know the riff I’m talking about.

In the U.S, six million copies were shipped, for a 6× Platinum certification. And “Night Moves” is the anchor to Seger’s most successful period which includes “Stranger In Town” in 1978 and “Against the Wind” in 1980.

How many artists can say that their ninth album broke em him to the masses?

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Influenced, Music, My Stories

The Week In Destroyer Of Harmony History – May 17 to May 23

4 Years Ago (2017)

The thing with blogs and posts is that you try and write something different and creative. Like this post, titled “Dollars And Cents”. At the time I was reading a book on innovations and Charles Goodyear inspired me.

Everyone today knows “Charles Goodyear” as the inventor of vulcanised rubber. But what they don’t know is that he spent his whole life on struggle street, in and out of prison because of his money problems and six of his twelve children died because he couldn’t support them.

And when he perfected his vulcanised rubber, he couldn’t take out a patent because another scientist called Thomas Hancock took out a patent eight weeks earlier. You see, Hancock had gotten a hold of a sample of Goodyear’s final product and reverse engineered it.

Goodyear tried the courts, however the judge couldn’t understand how Hancock could have reverse engineered the invention and awarded all rights and royalties to Hancock.

It wasn’t until his journals were read by others that the following was found: “Life should not be estimated exclusively by the standard of dollars and cents.”

The Goodyear name would be recognised many years later. His achievements are world-changing but he never got paid for it while he was alive.

And the post combined F. Scott Fitzgerald, Ken Kesey, Dream Theater, Metallica and others.

These days, every town has thousands of bands who are recording themselves and releasing their music. And there are artists who have “made it” who are also releasing music. And they all want to be paid for it. Because their hard work and time spent is worth something. It’s all dollars and cents until you have that iconic hit. Only then you will be paid. When the music listening public decides it’s worthy.

Once upon a time my Release Radar playlist was pretty spot. Check out my love for The Night Flight Orchestra, Rise Against, Hell Or Highwater, Adrenaline Mob and Harem Scarem.

And when I was thinking about innovations, I thought about the cassette.

The Cassette tape allowed me to make demo after demo, mix tape after mix tape and it allowed me to copy a lot of albums from people who either had the original album or had a copy of the album from someone else who either had the original or had a copy.

For me it is was a game changer.

The record labels screamed loud and hard to their politician friends to pass new laws and stop this new sharing culture. Remember their headline, “Home taping is killing music.” A more accurate and truthful headline would be, “Home Taping is Spreading Music to the Masses” or “Home Taping Is Spreading Music And This Leads To Increased Sales Later On”.

Progressive Music always fascinated me.

In the Year 2000, the mainstream was ruled by Nu-Metal bands and progressive music was really at opposite ends of the spectrum.

On one side, you had the Dream Theater style of progressive music. This involved a lot of time changes, with the focus on high-octane technical musical workouts and each song exhibited a smorgasbord of riffs.

On the other side of the progressive music spectrum, you had the Tool style of progressive music. This involved time changes, but the focus was on groove and atmospherics, with each song building on a unique riff or bass line or drum pattern. Tool always stood by their brand and never wavered from it.

In between you had Porcupine Tree, merging Tool like aggression with Pink Floyd like atmospherics and on the extreme end you had Meshuggah with their focus on groovy, technical polyrhythms.

The missing link is Fates Warning. Fates Warning released an album called “Disconnected” which merged the Tool and Porcupine Tree progressive elements with the Dream Theater progressive elements and put them through the Fates Warning blender. It’s a fusion of all the best progressive elements at the time into a cohesive piece of work that can be listened to over and over again from start to finish.

Making something technical sound simple to the ear is progressive music to me.

Metallica did it with each album up to “…And Justice For All”.

Rush did it with each album until they reset their career with “Signals”.

Dream Theater nailed it with “Images And Words”.

Fates Warning nailed it with “Disconnected”.

And back in 2013, I was writing that if an artist wants to make money from streaming music, then they should stay independent and don’t sign to a label.

Or if they sign to make sure they own their copyrights. Streaming pays pretty good, provided people are listening. And the more people who embrace streaming, the greater the pool of money to divide.

Remember when AC/DC refused to have their music on iTunes and even streaming services? Now they’re on all of them.

And remember that each release is competing with the history of music

8 Years Ago (2013)

I was watching Eurovision and I came across Eythor Ingi from Iceland. He sang a ballad called “I Am Alive”. The song is average, however his voice, his look and his name stuck in my head.

So I went to YouTube. He was in a Deep Purple cover band and he covers “Child In Time”. If you want to separate the vocalists from the wannabe’s, “Child In Time” is the song.

I just rechecked on him and he’s still doing music in his native language. I would like to hear an English speaking album as well.

And did anyone hear the new (at the time) Five Finger Death Punch song, “Lift Me Up” and how similar the vocal line in the verse is to “The Ultimate Sin” from Ozzy. A perfect example of taking something from the past to make something new.

And I wrote an appreciation post on the lyrics of Jesse Leach.

We are overloaded with people creating something. The Internet has removed the entry barriers to promote creative works have diminished greatly. Artists are writing books, comics or creating art via paintings or photography.

And they create because they want to create. And at the time System Of A Down had three quarters of the band ready to do another album. But vocalist Serj Tankian was not interested.

“Kingmaker” from Megadeth was just released. The first thing that grabbed my attention was the “Children of The Grave” influence in the verses.

Finally, the Richie Sambora saga was ongoing and some serious scalping was happening in Australia, as tickets to the first Jovi shows in Australia were still available to be purchased but the shows are marketed as sold out and second shows are up for sale.

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

Australian Method Series: AC/DC – Powerage

I’ve already reviewed “TNT” and in The Record Vault post I had “High Voltage”, “Blow Up Your Video”, “For Those About To Rock”, “Let There Be Rock”, “Flick Of The Switch” and “Family Jewels” reviewed.

But.

No AC/DC discussion can be had without mentioning “Powerage”.

Released in 1978. A lot of discussions are had in Australia and around the world, if this is the “album”. It’s not their most famous work and it didn’t chart well but it is seen as their definitive work, like “Sgt Peppers” and “Exile On Main Street”.

Keith Richards and Slash call this their favorite album.

The personnel for the album is Bon Scott on vocals, Angus Young on lead guitar, Malcolm Young on rhythm guitar, Cliff Williams on bass guitar and Phil Rudd on drums.

The label wanted Bon gone as they believed his voice was the reason the band couldn’t get radio play but the Young brothers wouldn’t hear it.

“Let There Be Rock” didn’t do great numbers commercially and bassist Mark Evans was replaced by Cliff Williams, but he couldn’t get a Visa to enter Australia. So because of this, it’s believed that most of the bass tracks are played by George Young.

“Rock N Roll Damnation”

The riff that spawned a thousand copy cat bands.

“Take a chance while you still got the choice”

What a lyric line from a boozer, lover and party animal. AC/DC lost this art when Bon died. Johnson had it in him but the Young brothers took over most of the lyric writing and that was that as AC became sleeker and more corporate.

Burn all your self help development books and listen to Bon Scott’s lyrics in AC/DC. They will motivate you.

“Down Payment Blues”

It’s one of Slash’s favorite songs. And mine too. Especially the riff that would be reused a few years later for “Givin The Dog A Bone” riff.

Living on a shoestring
A fifty cent millionaire
Open to charity
Rock ‘n’ roll welfare

Bon Scott might have portrayed a certain confidence and strut, but he had a soft spot for the broke, bruised and the weak of society. Because he lived what he wrote and we understood what he wrote because we lived it as well.

Get myself a steady job
Some responsibility
Can’t even feed my cat
On social security
Hiding from the rent man
Oh it make me wanna cry
Sheriff knocking on my door
Ain’t it funny how the time flies

Eventually we all fall in line to what governments want. Obedient workers who enslaved to earn and pay taxes. And by the time you know it, your retired and then dying. Ain’t it funny how time flies when your doing routine 9 to 5.

“Gimme A Bullet”

How good is the verse riff?

And if the verse sounds familiar it’s basically the “Highway To Hell” verse riff.

“Riff Raff”

Those open string riffs with smashing power chords and that little riff towards the end that sounds like something that Mick Mars took for “Rattlesnake Shake”.

I never shot nobody
Don’t ever carry a gun
I ain’t done nothin’ wrong
I’m just havin’ fun

I thought of this song and lyric when I came across the video clip to “You Can’t Stop Rock N Roll” from Twisted Sister and how the anti noise or was it anti-fun police kept chasing em.

“Sin City”

One of the best riffs ever.

Where the lights are bright
Do the town tonight
I’m goin’ in
To sin city

And you believed every word of it.

“What’s Next To The Moon”

Lars ripped the drum groove from this song and “Dirty Deeds” for his “Enter Sandman” Intro.

Two awesome songs to use for inspiration in my opinion.

“Gone Shootin”

The tune is bluesy and not as heavy but the subject matter of losing someone close to you to heroin is anything but light.

“I stirred my coffee with the same spoon
Knew her favourite tune
Gone shootin’
My baby gone shootin’…”

“Up To My Neck In You”

It’s that Chuck Berry shuffle they used on “Jailbreak” and “Long Way To The Top”.

“Kicked In The Teeth”

It’s basically “Whole Lotta Rosie” and “Let There Be Rock” musically. And I wouldn’t have it any other way. Bon Scott is channeling his Robert Plant voice.

In Australia it went 3x platinum. In the U.S only Platinum. But to me, it’s the AC/DC album. Here is a review I wrote for the album when I covered the 1978 year.

And for the Brian Johnson era “Flick Of The Switch” is his “Powerage” album.

Crank it.

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