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

1996 – Part 5.6: Yngwie Malmsteen – Inspiration

After battling to make a name for himself on the small Polydor label, Yngwie Malmsteen finally got the big label deal in 1992 with the release of “Fire And Ice” on Elektra. While the album did great business in the Japanese and Eastern/Northern Europe market, it failed in the U.S.

The million plus dollar advance from the label was classed as “unable to be recouped” and he was dropped from Elektra.

One door closes another one opens. A Japanese company called Pony Canyon signed Malmsteen. “The Seventh Sign” came out in 1994, achieving a Platinum certification in Japan, followed by “Magnum Opus” in 1995 which received a Gold Certification in Japan.

“Inspiration” is the ninth studio album by guitarist Yngwie Malmsteen, released on 14 October 1996.

Malmsteen was back to releasing an album a year, in order to remain relevant and in the public conversation during the hostile 90s. If he didn’t do that, obscurity was not too far away. Artists these days whinge about Spotify and how they believe that the service is making them release constant product. It’s not the service, it’s the market. The market demands constant product. It always did.

Yngwie Malmsteen on guitars/bass and Anders Johansson on drums play on every track. The rest is a cast of artists like Jeff Scott Soto, Joe Lynn Turner, Marcel Jacob and various keyboard players.

Carry On Wayward Son

Written by Kerry Livgren.

It shows the reach Kansas had, so that a kid from Sweden would consider the band as an influence.

Jeff Scott Soto is on vocals here and his Talisman buddy, Marcel Jacob is on bass. David Rosenthal is on keyboards. During this same period, Malmsteen also appeared on a Talisman release. A sort of, “scratch my back and I will scratch yours” type of agreement.

Malmsteen makes the song sound like an over-indulgent Malmsteen song with his over the top soloing on any part of the song that doesn’t have vocals.

Pictures of Home

It wouldn’t be an influence album for Malmsteen if there was no Ritchie Blackmore. Malmsteen’s poses and looks are straight from “The Look Of Blackmore”. This is the first of four Blackmore songs. Joe Lynn Turner is on vocals here, who also sang on Malmsteen’s most successful album “Odyssey”. Mats Olausson is on the keys.

The lead breaks are Malmsteen lead breaks full of legato runs and of course, sweep picking. A lot of sweep picking.

Gates of Babylon

From Rainbow and Jeff Scott Soto is on vocals here. His voice and tone is perfect for the song. David Rosenthal plays the keys here.

The song would not be out of place on a Malmsteen album. The riffs are already what Malmsteen plays and as soon as he throws in his sweep picking and fast classical legato lines, it’s basically a Malmsteen song.

Manic Depression

From Jimi Hendrix and like his idol, Malmsteen is on lead vocals. I suppose for all the shredding, Malmsteen doesn’t get credit for being a pretty crazy blues player. Vocally, he doesn’t have the swagger of Hendrix.

In the Dead of Night

From the band U.K., the song is written by Eddie Jobson and John Wetton. Mark Boals is on lead vocals here with Jens Johansson on keyboards. And for those who don’t know John Wetton, he’s appeared in King Crimson, Roxy Music, Uriah Heep, Wishbone Ash and Asia.

But the reason why this track is here is due to Allan Holdsworth being the guitarist. Holdsworth was an unknown name to me until Eddie Van Halen started mentioning him in his interviews in the mid 80’s, which led me to seek out his solo recordings.

Ty Tabor also mentioned in an interview (which can be found on the Wikipedia entry of the U.K album) that the self-titled U.K album is in his “5 Essential Guitar Albums” list, stating that he “had never heard anybody think about playing guitar the way that Holdsworth plays on that record.”

Holdsworth never got mainstream attention. Producers and label heads called his music “without direction”, however to guitarists he was like a god.

You can hear the melodic rock side of Malmsteen here with a bit of progressiveness and how songs like “You Don’t Remember” and “Judas” with the keys and guitars playing great riffs that complement each other.

The solo break groove is excellent, however Malmsteen this time is just too much on the speed, and it just doesn’t fit the groove.

Press play on this track first.

Mistreated

From the David Coverdale era of Deep Purple.

This is the third Blackmore track to appear on this.

Would Malmsteen have covered this, knowing that Coverdale wrote the main riff?

Regardless, the song is perfect for soloing and Malmsteen uses that opportunity to do just that. But if I had to pick a cover version, it is the Whitesnake version with Reb Beach soloing. That solo just hits all the right notes.

Jeff Scott Soto is on vocals here with Mats Olausson on keyboards.

On this version, press play to hear the solo that comes in at the 4.20 minute mark. Malmsteen harmonises, its bluesy like “Still Got The Blues” and I like it.

Also stick around for the ending. It’s excellent. Soto really shines here, as he adds in backing vocals that sound like Gospel vocals and while they are happening he is ad libbing his main vocal while Malmsteen is throwing every lick he knows to the Master Tape.

The Sails of Charon

Another guitar player that influenced Malmsteen heavily was Uli Jon Roth, so it’s no surprise that his most classical sounding metal song with the Scorpions is covered.

Mark Boals is on lead vocals here and does a great job on the vocals, however Malmsteen just solo’s way too much here.

Demon’s Eye

Joe Lynn Turner is on vocals here with Jens Johansson on keyboards. I like how Malmsteen included bluesy Deep Purple here and still added his classical licks with bluesy Chuck Berry’isms.

Anthem

From Rush and Mark Boals sizzles on lead vocals here.

The pace of this song screams energy and I like it. And goddamn it sounds so heavy.

Child in Time

Mark Boals does an excellent job on lead vocals again with David Rosenthal on the keys.

The keys actually take the lead here (i.e. they basically sound like Malmsteen is playing them), carrying the intro and verses. Malmsteen cranks in right when the ohh’s start.

Overall there are six main guitarists that serve as inspiration to Malmsteen. Ritchie Blackmore, Jimi Hendrix, Uli Jon Roth. Alex Lifeson, Kerry Livgren and Alan Holdsworth. Pretty cool inspirations if you ask me.

While the massive North American market still had its back turned to Malmsteen along with the U.K and parts of Western Europe, the Japanese, Scandinavian Countries and Eastern Europe markets kept sustaining him.

If you want to hear two songs from this album, press play on “In The Dead Of Night” and “Mistreated”.

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

1996 – Part 5.5: Stabbing Westward – Wither Blister Burn & Peel

It was their 2001 self-titled album that made me a fan and I went backwards. “Darkest Days” was consumed next and then “Whither Blister Burn & Peel”.

Before writing started for this album, main songwriter and guitarist Stuart Zechman departed the band after the “Ungod” tour due to “personal differences”.

So the band for this album is Christopher Hall on lead vocals, guitar and drum machine programming. Jim Sellers is on bass and guitar. Walter Flakus is on keyboards and programming. Andy Kubiszewski is on drums, guitar and keyboards.

Kubiszewski was actually new as well, and when it came to song writing for this album, he played the band dozens of demos he did. Songs like “What Do I Have to Do?”, “Haunting Me,” “Sometimes It Hurts,” “Crushing Me,” “Slipping Away,” “Desperate Now,” and “Goodbye.” These song would appear on this album and the “Darkest Days” albums.

The band thought about finding another guitarist however they went into the studio without any guitar player and decided to play the guitar parts themselves with Sellers and Kubiszewski taking on most of the guitar duties.

I Don’t Believe

Any song that starts off with the words “I’m such an asshole” and “I just keep fucking up” means business. While rooted in the Industrial sounds of NIN, it has a certain arena rock vibe when the Chorus kicks in which the hook “I don’t believe I could be so stupid and naïve”.

Shame

The big song from the album. The intro riff is infectious, instantly making me pick up the guitar to learn it.

What Do I Have to Do?

The electronic keys riff with the sound effects is unusual and I like it. My favourite song, which shows a real rock vocal.

Press play to hear how the second verse riff crashes in. Brilliant.

And the hook, is so desperate with the words, “what do I have to do if you don’t want me”

Why

The main music is sound effects, electronics and the keys providing a riff. It all feels so desolate and haunting. But I like it.

Why can’t you see that everything is broken?

These kind of artists got blasted by rock audiences at the grim nature of their lyrics, but as a fan of metal bands and thrash metal in particular, these kind of lyrics are nothing new. All of our heroes have fears and doubts.

Inside You

It’s like soundtrack music with a vocal melody over it.

Falls Apart

The album does fall apart with this song. It has a Ministry like riff which starts off the song full of energy, however the verses really let it down.

So Wrong

This could be on a metal album or a rock album and it wouldn’t be out of place because of the main riff.

Actually Fates Warning have a similar song on their “Disconnect” album from 2000.

Crushing Me

It’s like a long lost song from Kurt Cobain. Press play and check out the intro riff. But there are a lot of sections with sound effects, electronics and keys which just take away the good from the intro riff.

Sleep

There is a cool riff in this song, but you would need to listen through a lot of soundscapes and electronics. But when it comes it around the 2.10 mark, it’s worth the wait.

Slipping Away

This one just slipped away from me as the title states, with too much electronica.

The album was a success and supported by the singles “Shame” and “What Do I Have to Do?” they got themselves a Gold certification in the U.S and some heavy MTV rotation. The band also recruited Mark Eliopulos to handle the live element of the main guitar parts.

This is how it was for me between 1995 to about 2005. I would buy an album from a hard rock band I knew and I would be buying albums from so many different artists that looked like they had distorted guitars and played something that could be influenced by metal and rock bands.

I was just looking for something to get into it.

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

Australian Method Series: Airbourne – Boneshaker

The method is simple.

Listen to an AC/DC album and write songs that have the vibe from that album. It’s been “Airbourne’s” template for the first four albums, so why change it for album number five.

But on the album, I would like to add a few other Australian bands like Rose Tattoo, Screaming Jets and The Angels to that list of influences.

“Boneshaker” was released on 25 October 2019, produced by Dave Cobb which was a surprise choice, considering his big production credits involve Chris Stapleton and “The Star Is Born” soundtrack. But the band wanted to work with Cobb based on an album he did for a small obscure band called “Black Robot”. Check out their 2009 album to hear a pretty cool slab of AC/DC, Aerosmith, Bad Company and Lynyrd Skynyrd.

Airbourne is still underpinned by brothers Joel O’Keefe on Vocals/Lead Guitar and Ryan O’Keefe on drums. Justin Street is on bass and new dude Matthew Harrison is on guitar.

Boneshaker

This track wouldn’t be out of place on an early Y&T album. Maybe because they have the lyric, “Earthshaker” after “Boneshaker”.

Burnout the Nitro

It has a country twang to it, but played through a distorted amp, in sounds rock and roll.

“Racing down the highway” instantly brings back memories of “Long Way To The Top”. And that’s basically the vibe of the song, a cross between “Long Way”, “Shoot To Thrill”, “Let There Be Rock” and “Whole Lotta Rosie”. If you are going to be influenced by AC/DC, you might as well be influenced by some of their biggest songs.

This Is Our City

“This is our city, lets rock and roll”. And the live show is summed up in a simple line.

Sex To Go

Great title and perfect for the fast paced social media lives we live in. At 2 minutes and 34 seconds, it’s probably just enough time to have fast food take away sex. And how can you not go past a lyric like “all I want is your apple pie”.

In the words of Sammy Hagar in “Good Enough”, I’ll have some of that.

Backseat Boogie

“Long Way To The Top” makes another comeback. And I like it

Blood In The Water

A groovy “Whole Lotta Rosie”.

She Gives Me Hell

Being on the wrong side of a toxic relationship sets up the lyrical foundation over a musical influence from “Highway To Hell”.

Switchblade Angel

The speed rock and roll is back and I like it.

Weapon Of War

The slow blues grit and groove is back for a song about war vets.

Rock ‘n’ Roll For Life

The fast “Let There Be Rock” vibe is back.

Rock and Roll along with all things Metal is a life style. Once you are in. you are always in. You might dabble in other genres but you’ll always come back. Because Rock N Roll is for life.

After 30 minutes and 36 seconds the album is over like fast food. Music on the go. Concise and straight to the point, there is no confusion as to what Airbourne is. A highly efficient and lean rock and roll band.

With no ballads.

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A to Z of Making It, Music, My Stories

Less Than One Percent

If an artist released an album and it sold a million copies in the U.S, it would be given a Platinum award, but it only reached less than 1% of the U.S population, never mind the world. 99.9% of the population are ignoring the release, yet it is this commercial acceptance that artists try to chase.

Instead of chasing everyone, try to reach someone.

Inspired by this post at Seth Godin’s blog.

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Music

The Week In Destroyer Of Harmony History – July 26 to July 31

It was a pretty dismal posting effort this time around 4 years ago and 8 years ago on the site.

So this history post is short and sweet.

4 Years Ago (2018)

What comes first when creating, the words or the music?

The answer really is, “listening to the words and music of other artists”, however it’s rarely said for fear of a court case. It didn’t used to be this way. Artists would gladly share which artists influenced them.

Being inspired by other artists, story tellers and sounds is how we learn. From the day we are born, we are listening to the sounds of voices and learn how to talk from them. We watch people walk and decide to try it ourselves. We basically copy what others do. But when big business gets involved and hijacks a law designed to protect artists, well this isn’t what Copyright should be and it shouldn’t be up to any court to decide.

7 notes in a scale or 12 notes including chromatics. 20 million songs released in a day.

Any musician starting out learns to play the songs of others before writing their own. This builds their style and forms a large part of their song writing. Artists do not operate in a vacuum. They assimilate what is happening around them. They create because they want to create. It’s a human need that needs to be satisfied within. No artist sits down and says to themselves, “geez, lucky for me that Copyright law lasts for my life plus 70 years after my death, so I have an incentive to create.”

However, the recording industry constantly spews the same rhetoric about the need for stronger copyright enforcement and longer copyright terms, because they still believe that piracy is killing the industry and if there is stronger copyright enforcement, then artists will get paid, and if artists get paid, more art will be created.

Are they serious?

The true purpose of copyright, is the progress of arts and science.

And while piracy ran rampant, and recording industry revenues went down, there was still plenty of creative output. Artists create because they want to create.

And for getting paid, if you have some traction and are not seeing any coin, redo your contracts with the middle parties. Otherwise if you are an artist who has no traction, obscurity is your enemy, so keep on creating.

More money actually leads to less creative output. Jimmy Page as an owner of all things Led Zep is a perfect example. Look at his recorded output since Led Zeppelin finished up compared to Robert Plant.

8 Years Ago (2014)

I was in Europe during this period, so no posting was happening.

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