The original cover gets more attention than the actual album. Even Wikipedia was embroiled in the controversy for showing it. I’ll go with the alternative cover.
For me, this album showcases the power of Uli Jon Roth. Four of the compositions “Virgin Killer”, “Hell-Cat”, “Polar Nights” and “Yellow Raven” are written solely by Roth (he even sings on two of em), while opener “Pictured Life” is written with Klaus Meine and Rudolf Schenker. “In Your Park”, “Backstage Queen” and “Crying Days” are Meine and Schenker compositions.
Rounding out the band is Francis Buchholz on bass and Rudy Lenners on drums, the underrated rhythm section of the band. Dieter Dierks is credited as assisting with the arrangements and production.
“Pictured Life”
It’s like a party is happening. There are leads all over this song courtesy of Roth.
In the intro, in the verses, in the Chorus and after the Chorus.
And one of their biggest songs, “Rock You Like A Hurricane” is very similar to this.
I also think that “Games People Play” from The Alan Parson’s Project sounds like this.
Make sure to check out the Chorus riff.
“Catch Your Train”
Rudolf Schenker delivers killer riffs on this, while Roth creates the Shrapnel label with his shred’a’licious leads.
Check out the lead break here and you will hear a lot of the 80’s players style. Kirk Hammet, Marty Friedman, George Lynch, Randy Rhoads and John Sykes.
“In Your Park”
It’s like a ballad before the word was overused by MTV and for some reason, I can’t stop thinking of “I’m Eighteen” when I hear this song.
“Backstage Queen”
They are doing the British Blues better than the Brits were doing it at this time.
Lenners and Bucholz are super locked in during the solo section and deliver an excellent groove for Roth to solo over.
“Virgin Killer”
How good is the intro riff to this?
When I heard it, I thought of “Too Fast For Love” which came 5 years later.
And the way Klaus Meine sings this, it sounds like an Aerosmith song.
Roth has mentioned that the meaning of “Virgin Killer” is “none other than the demon of our time, the less compassionate side of the societies we live in today, brutally trampling upon the heart and soul of innocence.”
And the record label thought that putting a naked 10 year old on the cover was a good idea and the guys in the band agreed.
“Hell-Cat”
Vocals are provided by Mr Roth for this bluesy number. Musically it sounds like Hendrix and vocally it should have been performed by Meine.
“Crying Days”
It has this arpeggio line in the intro, that appears on “Lords Of Karma” by Joe Satriani and “Hell Child” from Lynch Mob.
“Polar Nights”
This one also has vocals by Roth. Musically, it’s got a sleazy groove and some smooth legato playing from Mr Roth.
“Yellow Raven”
A ballad with some heavy classical overtones.
From the vocal point of view, I would have preferred Meine to sing on all the tracks, because as a fan of the 80’s Scorpions, it’s his voice I am used to.
It’s not on Spotify as their original label Gull owns the rights and the split between artist and label was hostile.
Judas Priest recorded this album on a very small budget, whilst working part-time jobs and living off of one meal a day. As they say, hard times and adversity breeds genius.
This album is the transition point between blues rock and a new style about to be born, which is basically the metal that I got to know.
“Victim Of Changes”
It kicks off the album, a combination of two separate songs. “Whiskey Woman” from the band co-founder and original singer, Al Atkins (who also gave the band its name) and “Red Light Lady” from the person who replaced him, Rob Halford.
The riff reminds me of “Stormbringer” from Deep Purple and both songs came out at a similar time. There is a little lick towards the end of the riff that Metallica swiped for “Seek And Destroy” which they use to “get out” of the intro riff pattern and into the verse riff. Wikipedia quotes a source that the riff was inspired by “Black Dog” from Led Zeppelin.
Regardless of the source inspiration, it’s a beautiful example of how you take little bits and pieces of what came before and make it your own.
“The Ripper”
A lot of bands at this time were doing similar riffs, borrowing from each other and allowing themselves to be influenced. The main riff here is reminiscent of “Stranglehold” from Ted Nugent, however both songs came out at the same time. It could be pure coincidence, but it also means that the artists in question had the same influences.
The Chorus riff feels like a Pink Panther soundtrack and the solo section is the way Muse do their solo sections.
“Dreamer Deceiver”
If you want to know the inspiration behind “The Warning” album from Queensryche, just listen to this.
It’s one of those moody slow tempo songs I really like from acts in the Seventies. From a Judas Priest viewpoint, this song is an underrated cut. I would even call it a masterpiece.
Halford covers so much ground with his voice, singing across four octaves at different times of the song.
And the guitar solo from Glenn Tipton. One of the best guitar solos of all time. So overlooked. It’s on par with “Comfortably Numb” by Pink Floyd for pure emotion.
As the solo went on, Halford came in with his super falsetto ohhhs and ahhhs.
“Deceiver”
It has the triplet galloping style of riffing that Sabbath used in “Children Of The Grave” which came out in 1971. And Halford is going to town with his falsetto voice, clearly showing a certain Scandinavian singer called King Diamond, how to develop his style.
“Prelude”
It’s soundtrack music. A friend of mine said, its influenced by “The March Of The Black Queen” from the Queen “II” album. Listen to em both and you decide.
“Tyrant”
I reckon a young EVH was clearly influenced by the riffs in this song. Listen to the intro riff and you will hear it sounds like a certain Van Halen song.
“Genocide”
There is a lot of Deep Purple in this track. “Smoke On The Water” and “Woman from Tokyo” come to mind, from a groove and feel point of view.
“Epitaph”
It’s a progressive song, with layered vocals while musically, it’s just a piano riff. Black Sabbath’s “Changes” and Queen and ELP comes to mind.
“Island of Domination”
And they close off the album with a track that reminds me of “IV” from Sabbath.
The main riff sounds an awful lot like Nazareth’s “Railroad Boy” released a year earlier.
And you all know my view on this, all music is a derivative of some other music. If you listen closely, the section from 2.20 reminds me of “Wake Up Dead” from Megadeth.
For just their second album, there is a lot of ground covered.
This concert was filmed on their “Full Circle” tour in 2009. Joining the usual 4 members, Scott Stapp, Mark Tremonti, Scott Phillips and Brian Marshall, is Eric Friedman on guitar.
Friedman has an interesting story.
Tremonti really got behind him around 2002/3 but his journey starts in 1996, when Kenny Wayne Shepherd pulled him onstage for a jam session. He got a Fender deal at 13 and a developmental record deal with Steve Vai’s label Favored Nations at 15. He appeared on the excellent Submersed album “In Due Time” (released in 2004) and as the rhythm guitarist with Creed on their reformation tour. He’s also in the Tremonti band.
Creed gets blasted for various reasons by critics and haters, but if you look at their output and the years those albums came out, you will notice that their releases acted like a bridge between eras.
“Human Clay” is that album that bridged the 80’s and early 90’s with the newer sounds from the late 90’s. After “Human Clay” we would get hundreds of derivative bands, in the same way we got hundreds of hard rock bands in the early 90’s.
I think of “Human Clay” in the same way I think of “Sad Wings Of Destiny” from Judas Priest which bridged the derivative blues rock from the early 70’s and space prog rock into a sound that I know as metal.
“Bullets”
It’s a great opener, very metal like. Check out the intro riff for aggression.
It’s also the second single from Creed’s third album, “Weathered”.
When I watched em in Sydney on the “Weathered” tour, they also opened with this one.
“Overcome”
“Please allow us to re-introduce ourselves. We have overcome”, Stapp said as he introduced the song.
From the new album, and it was like Creed never broke up. But it was a different Creed as well, as Tremonti delivers a killer lead break.
“My Own Prison”
“When we got back into the room after six years of not playing together, I asked Mark, “what do you want to play” and he said, “let’s go back to the beginning”” was how Stapp introduced this song.
And “My Own Prison” begins. Its slower tempo groove fits perfectly in the set list after two heavy openers.
“Say I”
One of my favourite tracks from Creed as it incorporates a few different feels and styles. If you like Tool, then the verses would remind you of Tool. If you like hard rock, then the pre-chorus will remind you of hard rock. If you like metal, then the intro and chorus riff will remind you of metal.
For me, this is a deep album cut and to see it in the set list, I wish I was in Houston watching the show.
And they jam the interlude groove, which I didn’t think they would do. But they did, making the concert experience different from just playing the song as per the recording.
“Never Die”
“This song is about innocence”, Stapp said in his introduction. I still reckon this is an awesome Pearl Jam song. Maybe more so for the vocal than the music, as the riffs from Tremonti incorporate so many different styles. And if you read his interviews, you will feel like you had the same upbringing as him and his discovery of music.
“Torn”
One of my favourite songs to jam to. Tremonti is a master at creating a great riff.
“A Thousand Faces”
This is another album cut, which defines the Creed sound and make sure you check out the Tremonti solo towards the end of the song.
“What If”
How good is the Chorus and that chromatic Metallica/Megadeth like interlude?
Then they jam. The solo section has Tremonti and Friedman trading licks and none of it is from the studio recording. It’s all part of the live show.
“Unforgiven”
If you are a fan of Creed because of “Higher” and “What’s This Life For” then you will be bored by this song. It’s basically speed metal and aggressive.
And Creed brought back the big Rock N Roll show. Check out the photo below.
They had a similar stage design with pyro and flames in 2003, which at the time was “anti trends” as most bands from 1994 and onwards operated in shadows.
“Are You Ready?”
The groove of the riff is head banging stuff.
“What’s This Life For”
One of my favourite songs from the debut. It’s a ballad, but those last two minutes of the song, are excellent.
“Faceless Man”
“This next song is very personal to me”, Stapp said as he introduced this.
Its cinematic and this part of their music always get overlooked. This track was hidden behind the hits, “Higher” and “With Arms Wide Open” but this track is the piece d’resistance on the album as it moves between rock and ballad and rock and ballad.
And I hated learning it, because I had to change my tuning to an open D5 tuning. But, I believe the open D5 tuning just makes you play with an eastern feel, so make sure you check out the main eastern sounding riff.
This song is Creed folks.
Put it on and crank it.
“With Arms Wide Open”
The anthem, with its “Dust In The Wind” inspired progression. And while it was written for the birth of a child, the song has taken on many different meanings. Tremonti’s finger picking gets a highlight moment, but that defining moment would come with “One Last Breath” a bit later on.
“My Sacrifice”
This song doesn’t get the respect it should. The riffs are stellar and the vocal melody is iconic.
“One”
From the debut album, another song with a killer riff that is fun to jam.
“One Last Breath”
On Songfacts, Tremonti mentioned that “One Last Breath” is one of his favourite riffs. On YouTube it’s got a massive amount of views. On Spotify, it’s at 135.3 million streams, even more than “Higher” which is sitting at 110.1 million streams or “My Sacrifice” at 127.3 million streams.
This song really highlights Tremonti’s clean fingerstyle.
In a Guitar World issue, Tremonti mentioned how he would have devoured all the Classical/Baroque stuff, but subliminally his style developed by devouring the acoustic pieces from metal and rock artists, like “Mechanical Resonance” and the style of Frank Hannon or the fingerstyle stuff from Metallica on their slower tempo songs and instrumentals like “Call Of Ktulu”.
“Higher”
The closer. If you don’t know it, then you haven’t been part of the mainstream.
By the end of it, the band is drenched in sweat, Stapp went shirtless and the thousands of fans in attendance would have gone away happy. It’s not always perfect, but hey, that’s why it’s called the live show. And no live show is the same as the last show. If we wanted perfect, we would listen to the studio albums.
It’s another band I really got into during the 90’s and I’ve posted my record collection of Boston here.
It was a Guitar World issue that got me interested to hear Boston as it spoke about the making of the album, Tom Scholz diligence to sound and it also had a transcription of the opening track, “More Than A Feeling”. At 445.7 million plus streams on Spotify, it’s a monster track.
At 29 years of age when the album was released, Tom Scholz wasn’t your typical rock star in waiting, working as a project manager for Polaroid with a Master’s degree in engineering and writing songs that he liked to hear in his basement when he wasn’t working. And as good as Scholz is, he needed a voice for his songs, and that voice came from Brad Delp.
Disco also ruled the airwaves when this album hit the record stores. Most labels passed on the band because they didn’t believe a guitar heavy rock record could even chart. But Scholz stumbled onto a sound that would be imitated by all bands since.
My favourite is “Peace Of Mind” purely for the guitar leads in the intro and the outro. On Spotify, its sitting at 117.8 million streams.
I then ignored the rest of the album for a long time, finding it generic. An Epic A&R rep even said to the band in one of the rejection letters that they have nothing new to offer and sounded generic, but then credited himself as discovering the band when they broke big.
Then in the 2000’s I revisited the album.
“Foreplay/Long Time” came into my life and I didn’t notice it before but it has a similar riff in it as “More Than A Feeling. On Spotify, its sitting at 74.4 million streams.
“Rock And Roll Band” and “Smokin” are your standard blues rock fares, with “Smokin” having a more ELP vibe in the middle section. It’s also sitting at 47.3 million streams on Spotify.
And the other tracks are “Hitch A Ride”, “Something About You” and “Let Me Take You Home Tonight” showcase a more of blues country rock feel, but compared to the massive first two songs, they are lost in the “deep album cut” landscape. And it’s those first two tracks which sold the album throughout the world.
17 million sales in the U.S alone. Not bad for an album recorded in a basement.
In 2013, Scholz filed a termination notice to claim back his copyrights to the debut album and “Dont Look Back” as per the clause in Copyright Law which allows him to do so after 35 years. And it ended up in the courts.
My UFO experiences started in the 90’s. The band UFO, just in case anyone was wondering.
“Lights Out” (released in 1977) is the gold standard along with the live album “Strangers In The Night” (released in 1979).
But.
“No Heavy Petting” deserves more love.
The band for the album is Phil Mogg on vocals, Michael Schenker on guitar, Danny Peyronel on keyboards, Pete Way on bass and Andy Parker on drums.
Any idea about the monkey on the cover.
“Natural Thing”
The intro riff is great to play and one of the best committed to tape.
And I was pointed towards “Rock N Roll Queen” from Mott The Hoople as an influence. The guitar player on that is Mick Ralphs before Bad Company.
“I’m A Loser”
Written by Schenker and Mogg. The acoustic intro riff has influenced a lot of the 80’s bands.
How good is the piano melody in the section when “hard times, out on the streets” is sung?
And the lead break from Michael Schenker is guitar hero worthy and I’m pretty sure forgotten by all.
“Can You Roll Her”
The song is written by Peyronet, Mogg and Parker.
A stupid title which doesn’t do the fast paced and frantic music any justice. The guitar riffs in the intro/verses and little guitar melodies in the Chorus are excellent.
Schenker goes to town when it comes to the lead spotlight, combining his brilliant pentatonic playing with fast picked Aeolian Minor runs. The way it is constructed would influence countless of other guitarist to “work out” their leads.
“Belladonna”
Written by Schenker and Mogg.
When I hear this song, I think of “Soldier Of Fortune”. It more or less follows the same pattern. But I also think of “Try Me” which would come on the album after. And Scorpions would write songs like this in a few years’ time.
The Schenker solo is memorable, but on “Try Me” it’s outta this world.
Make sure you check out the classical like guitar melody that Schenker starts playing after the solo.
“Reasons Love”
What a great funky, sleazy and bluesy guitar riff to kick off the song.
“Highway Lady”
It’s your standard blues rock fare with Schenker wailing away in the solo.
“On With The Action”
Written by Schenker and Mogg.
The riff to kick this song off is like doom metal, if downtuned. Its heavy.
The groove in the song makes it a favorite of mine but the song is forgotten by the masses when it comes to discussions about UFO.
And if you are a fan of excellent guitar playing, make sure you check out the solo here as well. All of the 80’s guitar heroes copied it.
“A Fool In Love”
It’s written by Frankie Miller and Andy Fraser and it’s a “Honky Tonk Woman” meets “All Right Now” blues romp.
“Martian Landscape”
Written by Peyronel, Mogg and Parker. It’s one of those songs that the 70’s bands put on albums that was a bit progressive and experimental. And sometimes it worked and sometimes it didn’t. This song worked for UFO and it’s the precursor to “Love To Love”. And a riff in “Love To Love” gave birth to “Desert Song”
In other words, “No Heavy Petting” is an underrated hard rock record, a link between the derivative 12 bar blues and hard rock as I know it.
The song has over 7 million streams on Spotify. The guitar riff is influenced by the intro guitar riff in Billy Squier – “Powerhouse” from 1986.
The bass lines are very similar to the bass line from 45 seconds onwards in Great White – “Mista Bone” from 1989. Then again, that running bass line is pretty common in most songs. You hear it in “Disturb The Priest” from Black Gillian’s album “Born Again”.
And “Unskinny Bop” still sounds original.
8 Years Ago (2013)
I was discussing the prices of tickets for Bon Jovi’s Australian tour.
If a Bon Jovi fan wanted to sit in Row 1 and purchase a Diamond VIP package, the price of one ticket is $1975 + $10 booking fee.
If a Bon Jovi fan wanted to sit in Rows 2 to 5 and purchase an Emerald VIP package, the price of one ticket is $1475 + $10 booking fee.
If a Bon Jovi fan wanted to sit in Rows 6 to 13 and purchase a Sapphire VIP package, the price of one ticket is $975 + $10 booking fee.
And for the Sydney show, these VIP tickets had been sold out. And after the JBJ website sale, the next stage of the sales was the Telstra pre-sales, the Showbiz pre-sales, then the Ticketek VISA pre-sales and the general pre-sales and finally the public release.
What a collusive, exploitive and unregulated process.
And the Telstra presales were a disaster. The website went down and people couldn’t get tickets but eBay had tickets on sale for triple the price.
In other words the band was scalping its own tickets.
And the “What About Now” album continued its free fall, sitting at 133.
I’ve already written about Choirboys previously, especially their 80’s album in the self-titled debut released in 1983 and “Big Bad Noise” which had the monster hit, “Run To Paradise” released in 1987.
So how do you follow up a monster album released in 1987. Well after all the touring, opening up for large U.S acts and going back into the studio to write and record, the gap was 4 years.
That’s right, 4 years.
It’s a long time.
Instead of recording in Australia, they went to Cherokee Studios in L.A with producer Marc Tanner who used to be an Elektra recording artist.
“Midnight Sun” hit the streets in 1991. And compared to “Big Bad Noise” which was certified double platinum in Australia, “Midnight Sun” has no certification.
For a great album, it gets no love or attention. Even on Spotify, there are no songs from this album in the Top 5 of most listened songs from The Choirboys.
“Midnight Sun”
It’s got this AC/DC style groove (think of “Live Wire” with a bit of a Springsteen/Mellencamp vibe.
Lyrically they are the devils boy, is walking the streets of society as the keeper of the midnight sun.
“Our Empire Falls”
This song should have been a hit.
Standing with her back to the ocean Is this the final curtain call? Still trying to make a deal with the sunshine It′s over, it’s over
Once bathed in glory But now your image is fading
And check out the lyrics, which deal with faded glories and contemplating suicide. This from an act who was expected to write party anthems.
Tonight is the night our empire falls
“Rise Up”
Their blend of different rock styles is perfect. This song is a great example of how a song can still sound hard rock but be catchy and commercial. It’s a mixture of an AC/DC (that “Live Wire vibe again), Bryan Adams and “Jessie’s Girl” from Rick Springfield with a bit of Def Leppard.
The intro alone has the drums and bass playing a simple hard rock groove.
It’s no surprise that Mellencamp’s music is heard in Australian artists, as the “Scarecrow” album was massive.
‘Cos I see the best of things Lies somewhere in the kiss of knowledge Bullshit ends when faith begins If you’re down at the bottom, at the end
Rise up
“Place With No Love”
A great ballad with a weird music video featuring a character in a leather fetish mask.
“Rendezvous”
It’s got this “Radar Love” style drum groove and a film clip with people hitting the road to meet up somewhere.
Now we’re on the road to our Rendezvous With nothing, there’s nothing to lose
These lyrics connect straight away.
Australia is a massive place with vast distances between towns. The only way we used to be connected was via the motorways and suburban roads and railways. So hitting the road to meet up is part of the Australian psyche.
How can you fly with your feet on the ground Take all of your dreams, let’s get out of this town
We all wanted to escape our hometowns to try and achieve our dreams. These days the kids are okay to live at home we’ll into their 30’s.
“Only In America”
This song melts. When I hear it, I think of The Cult, AC/DC crashing with Springsteen.
Only in America you read my rights to me Only in America I watch my trial on TV Only in America only in America I won’t ever be alone Then why do I feel so lonely
“Battle Boulevard”
Check out the intro.
It’s just bass and drums and then the guitars come crashing in with power chords and a nice little lead.
I hear the guitars playing My Generation That used to be our song And I can feel the beat down on the boulevard
“Going Home”
This feels like a hard rock “Need You Tonight” from INXS.
But I’ve lived a dreamer and I’ve lived in hope But I don’t want to stay here on my own
I’m going home
“Romance Street”
A rocking ballad if that ever could be a thing. To me, it’s an awesome cut in the vein of “Born To Run” Springsteen.
“We Believed”
When “The Killers” came out, I thought of this song. Because it felt like “The Killers” sounded like this.
In the end, The Choirboys was just another Australian band trying to break into the larger U.S market, which didn’t pan out as expected. And while the first two albums sounded “Australian” (whatever that means, but the label reps kept saying shit like this), the “American” sound was here on this album, and the song writing is mature and the lyrics get you thinking.
Useless fact, fast forward a few years from this, I was in a band opening up for Choirboys in a small pub with about 200 hundred people in attendance.
And vocalist/guitarist Mark Gable along with bassist Ian Hulme were the only original members, but they still brought it live.
The band is still going today with the line up that did this album. Jamming with Gable and Hulme, is guitarist Brett Williams and drummer Lindsay Tebbutt.
I started this series with the Part 1 posts of 2001, then 1996 and most recently 1986. Now we go back in time another 10 years to 1976. And after this we go back to 2001 for Part 2 and the process repeats.
Rainbow – Rising
Album number two for Richie Blackmore’s Rainbow. Actually that was the title of the debut album, so the buying public would have some idea of who was leading the group. For this album, it’s just called Rainbow.
Coming into to this album, only Blackmore and vocalist Ronnie James Dio remain from the debut. Basically, Blackmore booted out, the Elf members. Cozy Powell is on drums, replacing Gary Driscoll. Jimmy Bain is on bass, replacing Craig Gruber and Tony Carey is on keys, replacing Micky Lee Soule.
“Tarot Woman”
It starts off with an Hammond or Moog organ.
But it’s that fast alternate picked riff of four note lengths and a small pause which gets the foot tapping. And once the drums and walking bass groove kick in, its blues rock heaven. But metal as well. The way I know metal.
Blackmore’s lead break moves between pentatonic licks and harmonic minor licks.
And I remember trying to learn the organ lead break in the outro on the guitar. Its worthy, check it out.
“Run With The Wolf”
This is basically a blues song however Dio’s choice of lyrics take it into a fantasy place about a hole in the sky and something evil passing bye.
How good is that foot stomping verse riff?
And it feels like Blackmore is playing slide guitar in the lead break.
Dio is a master at ad-libbing the outro’s with his vocals.
“Starstruck”
A great blues rock song.
It’s got everything a song should have. A harmony guitar intro. A memorable Chorus riff and a foot stomping 12 bar blues verse on steroids.
And while my first exposure to Dio was “Rainbow In The Dark”, I really dig his blues strut vocal style.
“Do You Close Your Eyes”
The Pre-Chorus is excellent, musically and melodically. But the lyrics are blah around asking the question “if your partner closes their eyes while they make love to you”.
“Stargazer”
After the drum solo like intro, the guitar riff kicks in. It’s got groove and it’s fun to play.
How good are the exotic sounding keys and the Munich Philharmonic Orchestra in the Pre Chorus and Chorus?
Dio is in his element here, singing about whips and chains, towers of stone, flesh and bone and rhyming fly, with die and why.
Blackmore’s lead is excellent. His use of vibrato and effects to kick off the solo, sounds like a sitar, and when he goes into the fast alternate picked lines around the harmonic minor scale, it sounds like a guitar solo spotlight at a concert. But the whole could have sounded flat, if it wasn’t for the powerful drumming of Powell.
“A Light In The Black”
A brilliant song, featuring another classic riff from Blackmore in the verses and Dio’s powerful vocals.
How good are the vocals when Dio sings “coming home”?
I like the nod to the past with its “Burn” like lead break with the organ and guitar in harmony. And the drumming from Powell is relentless. Ian Paige worthy.
For the next album, “Long Live Rock’N’Roll”, Bain was out, replaced by Blackmore on most tracks with Bob Daisley doing a few. Tony Carey also did keys on a few tracks with David Stone doing the other half.
And if you want to know what happened between Dio and Blackmore, well here is Blackmore’s point of view over at Louder Sound.
“I was always very close to Ronnie until, to be quite honest, he met up with Wendy [Dio’s future wife and manager], then it got very strained. She was a nice enough woman, but we didn’t really click. I remember trying to sort out a song.”
“I was playing an effect, trying to get the song down, and both of them walked by and one of them said: “We want to talk to you.”
Ronnie said. “I’ve just heard from Wendy that you’re on the front page of Circus and we’re not.”
“Really? I had no idea.”
The three of us had done the photo session, but the photographer did a couple of me on my own, and one of these got on the cover.
And Cozy [Powell, drummer] or Ronnie said: “If we’re gonna be your sidekicks then we’ll act accordingly.”
That really pissed me off, cos that was nothing to do with me. After that it went downhill, cos I had no respect for either of them after that. I didn’t like that.
“We’re not on the front cover with you!” Is that my fault?”
I wrote a post on this album back in 2013, called “What Made Bon Jovi’s Slippery When Wet Explode”. You can read it here.
You can call this an extra appreciation post.
Like all great movies, the actors and production team had to be in place.
The producer Bruce Fairbairn and the engineer/mixer Bob Rock are there. The band is there. The song writing team of Jovi, Sambora and Desmond Child is there. The three years of playing and touring together is there. Doc McGhee as manager is there. A label looking to break em big is there.
And the band decided that quantity will breed quality.
Along with the album tracks, the band had written over 30 songs for the album. YouTube has a lot of videos up. Start with “The Basement Demos” and then move to the “Pre Production Demos”. A Whitesnake evolutions style mix is required here.
The biggest win for the Jovi team was the release month of August.
For that month it was up against Motorhead – “Orgasmatron”, Vinnie Vincent – “Invasion”, Warlock – “True As Steel” and Great White – “Shot In The Dark”.
If it was released in July, it would have been up against DLR’s – “Eat Em and Smile” for listeners’ attention.
If it was released in June, it would have had to compete against Queen – “A Kind of Magic”, Genesis – “Invisible Touch”, Rod Stewart – “Every Beat of My Heart”, Madonna – “True Blue” and Cinderella – “Night Songs”.
If it was released in May as originally intended, it would have been up against AC/DC – “Who Made Who”, Journey – “Raised on Radio” and Europe – “The Final Countdown”.
In other words, August was perfect.
“Let It Rock” kicks it off Side 1.
Like Loverboy’s “Working for The Weekend”, the song is about letting your hair down on the weekend.
And Fairbairn had a thing that the bands he worked with should have an intro that could kick off the concert.
“Shot through the heart and you’re to blame, darling you give love a bad name.”
Its overplayed now but iconic and unforgettable back then.
Then the band kicks in and Richie does the vocal melody on the guitar until they start the strip bar sleazy verse riff.
“You Give Love A Bad Name” was the one that opened the door and as soon as the band unleashed “Livin On A Prayer”, the album started selling 700,000 records a month.
I saw “Social Disease” as pure filler back then as I failed to appreciate the blues soul swing of the track. And it needed to be written so that “Bad Medicine” could be written.
So you telephone your doctor Just to see what pill to take You know there’s no prescription Gonna wipe this one away
“Wanted Dead or Alive” was already a hit before it came out as a single. But the song didn’t reach number one because when the song was released as a single, the multi-million fan base had already digested it and made it their own.
“And the people I meet always go their separate ways”
“Raise Your Hands” kicks off side 2. The motto of this song is simply. Come to the show, raise your hands and get wild.
Raise your hands When you want to let it go Raise your hands And you want to let a feeling show
“Without Love” is lost on the album behind all the great tracks.
“I’d Die for You” has a guitar riff that reminds me of “Breaking The Law” from Judas Priest.
“Never Say Goodbye” was too slow for me back then. It was many years later that I started to appreciate the song and that guitar melody from Richie is pretty cool to play.
Finally “Wild in the Street” closes the album with its 60s rock vibe.
“In here we got this code of honor Nobody’s going down”
If you want to experience 1986, then crank “Slippery When Wet”.
The first copy I gave to the drummer from a band I was in, along with “The Dirt” hardcover book and the “Rush In Rio” DVD. But when we had an argument, he wouldn’t return the items. So I repurchased “The Dirt” but this time in paperback, and this DVD. The Rush DVD price was extravagant when I was looking for it and I haven’t relooked since.
Now, live albums have been known to have a lot of studio overdubs or in some cases, total re-recording of some of the tracks in the studio. From what I can hear, nothing feels fixed or redone in a studio on this. So what you get, is a band that can deliver live, the chaos they create in the studio. If anything, I believe the guitars are tuned down ½ a step as Claudio’s voice was strained during this period. But man, he still delivers.
Coming into this release, Coheed and Cambria had released three studio albums, in “The Second Stage Turbine Blade”, “In Keeping Secrets Of Silent Earth” and “Good Apollo”. For the hardcore Coheed fans, yes, I’ve abbreviated the names of the album titles.
It’s the only live release with the original line up of Claudio Sanchez on vocals/guitars, Travis Stever on guitar and backing vocals, Michael Todd on bass and backing vocals and Josh Eppard on drums and backing vocals. Michael Petrak does additional percussion and Dave “Wavis” Parker is performing keyboards, backing vocals, some extra guitar and samples.
In a perfect world, the audio of this concert would be available on Spotify, but it isn’t. YouTube has the live concert footage and some of the YouTube users have created just the audio.
“In Keeping Secrets of Silent Earth: 3”
A perfect opener. It’s just a bit faster than the studio recording, but hey, that’s why I love the live show. And the crowd gets involved with the who-oh-oh chant towards the end.
“Ten Speed (Of God’s Blood and Burial)”
This version is electrifying. Again, a bit sped up than the studio, but I feel the energy smack me in the face.
“Blood Red Summer”
It follows the poppy rock vibes of “Ten Speed” perfectly.
“The Crowing”
This version is a metal beast and this live version is my go to track for it. As mentioned previously, its downtuned a little bit more from the studio cut and it sounds menacing.
After the two pop rock songs in “Ten Speed” and “Blood Red Summer” the placement of this is perfect to get the live concert back into progressive and metal like territory.
“Wake Up”
One of the best ballads from Coheed and Cambria, and live, you just hear the clean tone electric guitar, Claudio’s voice and the crowd singling along with him. It’s chilling, emotive and perfect.
“Delirium Trigger”
From the debut album, the intensity of the song grabs my attention quickly. Hearing it played alongside songs from two of my favourite albums, works perfectly. The middle subdued section offers a calm before the song picks up again. With so much musical movements, nothing is lost and missed.
“A Favor House Atlantic”
It’s faster. When I watched the band live, this song is sing-a-long. You can’t make out the audiences here and you sort of lose the power of when Claudio drops out and the crowd sings. But the energy is still there. “Bye, bye, beautiful” alright.
“The Suffering”
The pop punk energy comes through. I wanted a bigger impact for the “wishing well, will you marry me” part but not all songs can be winners.
“Everything Evil”
I don’t think this song worked well live.
“Welcome Home”
The best cut and I like the sped up vibe of the song. And even though its quicker, the intensity of the vocals is still there. I would have loved to be able to hear the crowd cheering the who-oh-oh at the end.
“The Willing Well IV: The Final Cut”
At 14 minutes long, its eight minutes longer than the CD version and the jam aspect vibe they bring to this track is brilliant.
When there jamming the middle section lead break, they play this lead break that I swear comes from “Seventh Son Of A Seventh Son” lead break.
And when they come out of the jam back into the normal song, its powerful and beautiful. The crash cymbals are smashing, the guitars are screaming and all hell is breaking loose as they finish off the concert.
In the end, “The Last Supper” leaves you wanting more of the Coheed and Cambria supper.
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