And the labels are up in arms because this new Bill which would change the way artists get paid in the UK.
The bill proposes the payments to artists from streaming should bypass the label system entirely, and be paid to the performers directly via a collection society.
And the reason why the Government is proposing this bill is because of an enquiry they did.
The enquiry looked at the dollar value of streaming payments paid to the labels and then how much of those monies end up being paid to the artists. And it was found that the labels are to blame for the lack of payments to artists.
The labels hate it and are bringing out the big phrases like “recipe to disaster” and that the Bill would make the payments even smaller. And my favorite one is how the Bill would be a damaging step backwards for the UK music industry.
The Bill even cares for the DIY artists who don’t have a label. It’s well thought out and actually looks like a benefit to artists.
It’s no surprise that the labels are against the creators of music of being paid properly because that would change the power structure in negotiations.
The MP behind the Bill sees it very differently compared to the Labels.
“These reforms would lead to more new music, the revival of recording studios, a boost to the UK session music scene, the unearthing of a new generation of British talent, and Britain becoming once again a world-leading cultural hub for the recorded music industry.”
And it has other changes to copyright law; the main one being the right to revoke any Licence agreement after 20 years and reclaim their rights.
To put it simply, the creator or songwriter will be able to get their rights back after 20 years.
The labels would fight this “reclaim right” tooth and nail. They already are in the US, which has a copyright reclaim right after 35 years, claiming those works are “works for hire” which the labels commissioned.
I say bullshit to that claim from the labels but hey the lawyers and the courts love these kind of cases.
Anyway let’s see how this pans out.
The Bill needs to pass a few houses before it becomes law but it does look like the Brits are leading the way to give back some control back to the artists who actually create the content,
The late 90’s and early 2000’s was a time of pushing the limits of heavy metal music. From when I first came across metal albums in the 80’s, the genre had evolved so much that the bands classed as metal back then became totally unrecognisable to the new breed of bands doing the rounds.
Bands like Tool, Dream Theater, NIN, Ministry, Faith No More, Limp Bizkit, Fear Factory, Korn, Creed, Disturbed, Slipknot, Mudvayne, Machine Head and Pantera pushed the genre forward during this period. Each act bringing into their sound something that wasn’t there before. Suddenly Metallica sounded like a pop band compared to these bands.
And then I came across Ill Nino. A fusion of Latin Flamenco rhythms and percussion with metal riffs and singing which moved between aggressive screaming and melodic singing.
On September 18, 2001, Ill Niño released their debut album, “Revolution Revolución”.
The album was a commercial success for Roadrunner Records, moving over 350,000 albums worldwide in the first two years after release.
The Personnel for the album is Cristian Machado on Vocals and Samples, Jardel Martins Paisante and Marc Rizzo on Guitar, Lazaro Pina on Bass, Dave Chavarri on Drums and Samples and Roger Vasquez on Percussion.
And seeing a person called DJ Skratch on Turntables as an additional musician will either scare people off or make them curious.
God Save Us
It’s like Groove Nu-Metal. Vocally its aggressive in the verses, with a melodic Chorus.
Check out the flamenco like interlude at 2.30.
If You Still Hate Me
It’s like Industrial Nu-Metal at the start.
But at the 2 minute mark a flamenco metal section appears and then a head banging circle pit riff afterwards. The movement between styles is why this album got my attention.
Unreal
Distorted guitars and Latin percussion working to create something unique.
Nothing’s Clear
Screaming verses and a melodic Chorus. The duality of modern American metal at the start of the new century.
And chuck in a Bridge delivered in Spanish.
What Comes Around
The most catchiest song on the album. A Nu-Metal riff kicks it off, and then an atmospheric Korn like guitar riff in the verses, while the melodic singing carries the vocal melody.
Liar
The flamenco and percussion in the intro gives way to a Disturbed meets Limp Bizkit riff.
Rumba
The Latin percussion and distorted guitars is a delightful mash up. Vocally, the screaming loses me and the melodic singing re-captures my interest.
Predisposed
I like the Intro riff on this. Its head banging groove metal.
I Am Loco
Who isn’t loco these days?
No Murder
Press play to hear one guitar play a riff on the higher registers while another plays chords.
Rip Out Your Eyes
So much violence.
Revolution/Revolución
The intro riff is head banging heavy.
With You
It’s a flamenco acoustic rock cut. Santana is not the only musician that plays this style, but he is one of the biggest crossover artists, and because of that, this song reminds me of Santana.
The next album “Confession” is a lot more melodic and my favourite but if you want to start with something, then start with this.
If you look at the Wikipedia page for Zoltan Bathory, the earliest musical output you get is from 2004, where he played bass in the band “U.P.O”. However his story begins a long time before that, in communist Hungary.
He was basically trying to succeed in a genre that didn’t have a voice in communist Hungary.
So he comes to America.
And the first FFDP album was recorded by the band. They produced it and paid for it.
My drive home from work at that time consisted of the following songs;
“Shepherd Of Fire” – Avenged Sevenfold “Lift Me Up” – Five Finger Death Punch “Mist” – Protest The Hero “Live In Love” – Times of Grace “Fallen” – Volbeat “Bulletproof” – Evans Blue “Be Still and Know” – Machine Head
And all of the above songs can be traced back to other songs.
Here are some examples;
“Shepherd Of Fire” – the influence of Megadeth’s “Trust” and Metallica’s “Enter Sandman” are unmistakable.
Of course “Enter Sandman” had its main riff come from a band called Excel and a 1989 song called “Tapping Into The Emotional Void.” Megadeth’s “Trust” intro was also inspired by the Pittsburgh Penguins’ entrance theme “The Boys of Winter.”
“Lift Me Up” – the vocal melody influence is from “The Ultimate Sin” is very similar.
And then the post morphed into a Bad Company review.
“Hi Fi Way” is the second album by Australian rock band You Am I, released in 1995.
Wikipedia tells me that “Hi Fi Way” reached #1 on the local albums chart and is one of the most influential and critically acclaimed Australian albums of the 1990s.
I remember this album being released and I also remember not being too enthralled by the singles at the time.
Coming off a decade plus diet of 80s hard rock, I was a bit destroyed when the labels started abandoning the genre in favour of grunge acts. So I went into a deep dive into the 70s. And that deep 70s dive became the reason why I ignored You Am I.
Main songwriter Tim Rogers later said that he was really high and drunk the whole time. And he wanted the album to sound huge but with the way that he sings and plays guitar it ended up sounding scrappier than he intended.
They had had seven days to make it, while living in New York.
The band is Tim Rogers on Vocals, Guitar, Mellotron, Hammond organ, Andy Kent on Bass and Rusty Hopkinson on Drums.
Lee Ranaldo from Sonic Youth is Producing. Stylistically it’s like punk and grunge.
Ain’t Gone And Open
It’s like a garage jam.
Minor Byrd
It’s a skip for me.
She Digs Her
Remember the lyrical theme from “Same Ol Situation” from the Crue.
A guy falls for a girl who is into girls and the guy is still thinking that’s okay, maybe he’ll get a threesome out of this.
Well, if you listen to the song; that also didn’t happen.
Cathy’s Clown
It’s almost like The Easybeats meets Radiohead meets The Who.
Jewels and Bullets
It’s a punk pop song and I like it.
There’s a drink you can drown in Choose a blanket to die in
When you’re out on the streets only a few things matter.
Purple Sneakers
Folk Rock.
Found out what shame can mean In purple sneakers and grey jeans
Yep to some people this look wouldn’t cut it and they’ll do their best to let the person know.
Pizza Guy
Grunge like.
Grab a six pack for the way home
Who doesn’t?
It’s a rite of passage. Well it used to be.
The Applecross Wing Commander
It’s got this Blue Oyster Cult and Free 70s vibe.
And although I have no idea what the song is about, the groove and attitude of the song grabs me.
Stray
I like the Soul Bluesy Intro on this.
The Vines would build a career playing songs like this.
Handwasher
It’s got this Hunters And Collectors vibe.
Wash my hands in shame 4000 times a day And when I make it on home There’s a smell that always stays
Sometimes the stain never comes out. When I used to be a fitter and machinist the grease was in the skin.
Punkarella
It’s high energy.
Coffee teeth and a cigarette heart for sale
Great lyrics.
Ken (The Mother Nature’s Son)
You’ve lived on beans and rice And fell for Jesus Christ
Everyone is looking for some place to belong.
Gray
It’s a skip.
How Much Is Enough
It’s melancholic. My favorite song.
In the morning When you’ve wiped his taste away The last of the red and all the records you played How much is enough?
Sometimes it’s enough for a few hours and then the night repeats.
There’s a review at Sputnik Music which summarizes the album as “The backyard gig, captured on CD”.
And I agree.
The album is mentioned by members of Jet and Wolfmother as an influence. And for a little while it looked like You Am I was going to break into the US, but that that never came.
It was “The Heart Of Everything” album released in 2007 that made me a fan especially the song “What Have You Done”. And I wanted to hear more.
“Mother Earth” is the second studio album released on 24 December 2000 in the Netherlands, and 21 August 2001 in other parts of Europe.
It was a sleeper hit in Holland, reaching the number 3 spot, two years after it’s release and in the backs of the second single “Ice Queen”.
Wikipedia tells me how the band was enthralled by a movie at that time called “Braveheart” and the Celtic influences are very evident.
The band is Sharon den Adel on vocals, Robert Westerholt on rhythm guitar and vocals on “Mother Earth” and spoken words on “The Promise”. Michiel Papenhove is on lead guitar, Jeroen van Veen on bass, Martijn Westerholt on keyboards and Ivar de Graaf on drums.
Mother Earth
It’s soundtrack music. Medieval like “Braveheart”.
Ice Queen
It’s a hard rock song, with the symphonic elements. Vocally Sharon den Adel is very Kate Bush like and early Pat Benatar.
Our Farewell
It’s a piano piece. Evanescence would become famous on their “My Immortal” ballad, but Within Temptation was doing it earlier.
Caged
The start reminds me of “The Last Samurai”.
The Promise
When the distorted guitar riff kicks in with the Symphony, I am reminded of S&M from Metallica.
Never-ending Story
A piano riff that keeps reminding me of movies.
Deceiver of Fools
The symphonic choir starts it off. When the vocals come in, they are operatic.
But Press play on this to hear how the guitars kick in at the 2 minute mark. Powerful and emotive.
Intro
It’s like a horror/thriller soundtrack.
Dark Wings
This song is excellent. A mixture of progressive Metal with the symphonic
Arjen Lucassen from Ayreon plays the guitar solo.
But press play to hear Sharon den Adel do these exotic like ohs and ahs vocals between 1.50 and 2.20.
In Perfect Harmony
The song is in a Major key so it has that happy vibe to end the album. You know those end scenes in movies when the goodies have won and the end credits roll.
By the end of it, I felt like I was at the movies. The music is cinematic and grand.
And the rise was starting. Austria, Belgium, Holland, German, Norway and Switzerland were on board. This is how artists did it. A few places at a time.
In relation to certifications, the album was certified Platinum in Holland and Gold in Belgium and Germany.
It was the “Comatose” album released in 2006 that made me a fan of Skillet and I followed em up to to “Rise” album released in 2013.
And although I listened to “Unleashed” released in 2017 and “Victorious” from 2019, I didn’t really feel the need to relisten to em.
And when I went looking at their back catalogue I was surprised how much their sound had evolved.
“Alien Youth” is their fourth album released in 2001. Their sound on this is like industrial rock.
The band for this album is John Cooper on vocals, bass, sampling and programming, Korey Cooper on keyboards, sampling and programming, Lori Peters on drums, Kevin Haaland on guitars (except “Earth Invasion”) and Ben Kasica on guitars (“Earth Invasion”).
Alien Youth
It reminded me of Motley Crue’s “Generation Swine” album. And I like that connection.
Vapor
It reminds me of the whole “industrial rock” movement.
Earth Invasion
The best song on the album.
Very “Smells Like Teen Spirit” like.
You Are My Hope
The usual ballad.
It’s catchy and derivative.
Eating Me Away
A fuzzed out bass riff dominates the verses and once the Chorus kicks in, it’s Stabbing Westward and Korn like.
Kill Me, Heal Me
I like it’s swinging drum groove in the verses. I’ve heard Good Charlotte songs with these kind of beats and melodies, but they came after this.
Otherwise it’s all grunge rock.
The Thirst Is Taking Over
My favorite song on the album.
The verses have a programmed drum beat with clean tone and lightly delayed guitars.
And in the Chorus, there’s a distorted and fuzzed out guitar.
One Real Thing
The Chorus is hard rock and it has this “Teenage Dirtbag” vibe.
Stronger
Nirvana meets Ministry.
It has some cool riffs to jam on but lyrically it’s a bit cliched with the repeating “my god is strong” melody.
Rippin’ Me Off
It starts off terribly, with programming and sampling. Then a Nirvana like riff kicks in.
It’s a response to Marilyn Manson and his views on God being dead.
Check out the chorus. It’s heavy and angry.
You say that God is dead but you’re rippin’ me off/ You can’t infect my mind with your vanity/ You’re rippin’ me off!
Will You Be There (Falling Down)
This is a great ballad.
It feels like Bryan Adams and Celine Dion are singing it.
Come My Way
The closer. it starts off with a piano riff that sounds like it came from a soundtrack.
And it’s more hymn “Hallelujah” like.
They are labeled as a Christian Rock act, but they delivered an album that people from all walks of life would like.
Aaron Lewis has been in the news recently. He is touring in the U.S for his “Frayed At Both Ends” Country album, getting criticized for playing the same song at a gig twice and a few months ago he released a song called “Am I The Only One” in which he expressed his political views and questioned the patriotism of Bruce Springsteen.
Music industry blogger Bob Lefsetz didn’t like it and Lefsetz called out Lewis and his label boss Scott Borchetta. However Borchetta in an open letter back to Lefsetz, said that even though Lewis and Borchetta have opposing political views, Borchetta is not going to cancel or drop Aaron Lewis.
Moving away from “Politics 2021”, back in the early 2000’s, Lewis was busy writing and recording “Break the Cycle”, the third studio album by Staind. Released through Elektra and Flip Records in 2001, it is Staind’s most successful album to date, and it was the album that broke them into the mainstream.
Supported by Fred Durst who signed them to his Flip Records label originally, they had the fortunate or maybe unfortunate tag as Durst prodigies. The debut album, “Tormented” was ignored by the press, but Elektra wanted a piece of the action and “Dysfunction” is the result of major label support.
Then came “Break The Cycle”.
At 28 years of age, Aaron Lewis had lived and experienced enough sadness and happiness to put his life and thoughts into his lyrics.
A total of 5 singles were released from this album, “It’s Been Awhile”, “Fade”, “Outside”, “For You” and “Epiphany”, all of which did reasonably well.
On a side note, the album did cost $800K to make and Elektra along with Flip Records, just weren’t sure they would even get close to recouping.
But in its first three weeks, it sold over a million copies in the U.S. Currently it is certified 5x Platinum for U.S sales. In Canada and New Zealand it was certified 2x Platinum and in the U.K it was certified Platinum. In Australia and Sweden it was certified Gold.
And the label is still saying that Staind owe em money.
The band for the album is Aaron Lewis on Lead vocals and Rhythm guitar, Mike Mushok is on Lead Guitar, Johnny April is on Bass and Jon Wysocki on Drums.
Open Your Eyes
It’s like a Jekyll and Hyde. The lush strummed lightly dirty electric guitar which is the verse riff and part of the intro is calm and beautiful.
The riff that kicks in with the natural harmonics and downtuned riffing is aggressive and ugly. Sonically they just don’t go but the jarring difference works this time around.
Pressure
Written by Staind and producer Josh Abraham.
It has metal like riffs and a verse that is very Grunge like.
Fade
One of their best songs.
The bass groove is great and the way the guitar decorates the spaces shows the skills of Mike Mushok.
And of course, Aaron Lewis is more than capable of crafting and carrying a vocal melody.
It’s Been Awhile
I suppose this was the song that got a lot of people to check out Staind and at 194.497 million streams on Spotify it’s remained in the conversation and the various playlists.
Change
A huge metal like riff starts it off before the clean tone verses kick in.
The Pre-Chorus or is it the Chorus, feels like it could come from a Bush song.
Can’t Believe
Not a favourite. It sounds like the vocals are screamed through a loudspeaker and it does nothing for me.
Epiphany
An Aaron Lewis cut, as the acoustic guitar is prominent with a haunting vocal melody.
Suffer
It’s a hard rock riff however the down tuning and phrasing makes it sound like it isn’t.
Warm Safe Place
It’s just down-tuned too much, that the riff sounds like a muddled mess.
For You
My favourite track on the album.
That opening riff is good enough to challenge some of the best metal riffs from the 80’s.
Outside
Lewis again brings his acoustic guitar and melodies to the table.
The song has 95.057 million streams on Spotify.
Waste
A simple drum groove starts it off, almost jazz blues like. A clean tone guitar plays the riff and Lewis delivers his emotive vocal melody.
In the Chorus, the distorted guitar dynamic kicks in before it moves back to the subdued clean tone verses.
Take It
Another killer riff to start it off.
If there is a problem with the album, it’s the down tuning. On some songs it is excessive, to the point that it sounds muddled. But when they get it right, the songs elevate themselves and the slower acoustic pieces add a lot of variety.
Regardless of political alliances, Aaron Lewis does have a great voice. There are YouTube videos in which he covers “Black” by Pearl Jam and “Turn the Page” by Bob Seger live.
Lyrically, he’s copped a lot of flak for his lyrics to the point that people have called em depressive, but then again, no one said that life is all sunshine, happiness and smiling selfies in exotic locations.
Eskimo Joe are an Australian alternative rock band that was formed in 1997 by Stuart MacLeod, on lead guitar, Joel Quartermain, on drums and guitar, and Kavyen Temperley, on bass guitar and vocals.
Their road to fame started with a University Battle of The Bands contest. They won their local campus event, won the State event and then won the National event.
Released in 2006, this album is Number three and it’s noted for having the sound of the early 1980s Australian rock movement.
From the bands point of view they wanted to make a record as if they were stadium rock band. In other words if they were like INXS, what kind of record would they make.
The band recorded “Black Fingernails, Red Wine” on the central coast of NSW’s The Grove Studios. The Grove Studios were originally known as Mangrove Studio and were formerly owned by INXS bass player Garry Gary Beers.
In Australia it was certified 4× Platinum. It went to number one and spent 62 weeks on the ARIA Charts.
I never really appreciated this album when it came out. I was heavily into Progressive Metal, Nu-Metal and Metalcore bands at the time and I was devouring bands from those genres. I heard the singles and I liked em, but didn’t invest time.
A decade later, I finally did.
Comfort You
A great pop song with a piano line that reminds me of “Speed Of Sound” from Coldplay.
As soon as the drums and the fuzzed out guitar kick in, I was hooked. It’s almost new wave, but hard rock as well.
Lyrically there’s not much to it with a simple repeating line of “I will come, come to comfort you”.
But that’s all that is needed as the music and the groove is intoxicating.
If you’re not tapping your foot and nodding your head by the end of it, check for a pulse.
New York
This song is excellent.
It’s constructed with all the right atmospherics and ambient noises, plus an emotive piano melody and Temperley’s glimmering voice powers the melody.
Hey, hey, I know it wasn’t New York Where I lost my mind.
The opening lines. A habit will always follow you regardless of which city you wake up in.
Black Fingernails, Red Wine
This song is huge. And the hook.
Black fingernails, red wine I wanna make you, all mine
It reminds me of Icehouse, Eurythmics and INXS.
The Chorus is arena rock.
Breaking Up
An acoustic guitar and an addictive vocal melody.
And how descriptive is “A mouthful of glass / That cuts up your words”.
Setting Sun
The song was called “Forever Young”.
U2 comes to mind but press play on this track to hear the bass playing.
If your scared about the future, I’m scared about the past
While you’re at it, check out the guitar melody which starts at 2.32.
London Bombs
Coldplay comes to mind. And I like it.
Sarah
Killers comes to mind with a bit of Rick Springfield.
This Is Pressure
An acoustic strummed passage starts the song.
There is no romance in suffocation
Truth right there.
Beating Like A Drum
If you like INXS, you will like this song. it’s not that it sounds like the band, it just has this spirit and attitude of Michael Hutchence.
I had a lot to drink last night Now I’m feeling old Is there anything that I can buy That I have not sold
I’ve grown up with a father who likes to drink a lot and an older brother who likes to drink more. And all they think about is the next drink. Lucky for me they didn’t sell stuff to feed their habit.
Reprise
It’s a short instrumental, cinematic like piece.
Press play on it to hear the emotive piano melody.
Suicide Girl
Oasis and Radiohead comes to mind.
My social suicide girl Poison in the wall Razors in the apple core
These lyrics are hard rock. Nikki Sixx and Rachel Bolan would be proud.
How Does It Feel
A piano riff and a Muse/Coldplay feel.
You’re gonna lose everything / How does it feel
Not the best when it happens but as time goes on, a lot better.
There isn’t a song on this album that I will skip. It’s perfect from start to finish. So if you want to experience Australian Pop Rock, press play on this.
And the band is still active releasing new music and touring. But those reviews will be in other Australian posts.
Alice Cooper did really well between the difficult periods of 1993 and 2003 for rock artists. It didn’t matter what kind of music came out, the Alice Cooper brand was known for doing things different. The 70’s output alone is very diverse. The experimental early 80’s period, although not commercially successful, introduced new wave sounds into the mix. His stage shows bordered on the horror and macabre, with a lot of theatre thrown in. And one thing I do know as a fan of the horror genre, you don’t just stop being a fan.
Then “Trash” came out with its slick “hair metal” production and Alice was really back. His stage shows got even more extravagant and he hasn’t looked back since.
“Hey Stoopid”, the concept album “The Last Temptation” and “Brutal Planet” which told us we are all going to die, continued his brand in the 90’s.
And then there is “Dragontown” was released in 2001.
The band is Alice Cooper on Vocals, Ryan Roxie on Guitar and Greg Smith on Bass.
The studio session Guitar players are Wayne Swinny from the band Saliva and Tim Pierce who did a lot of session work and can be heard doing guitar on songs like “Runaway” from Bon Jovi, “Don’t Dream It’s Over” from Crowded House, “Iris” from Goo Goo Dolls and “Black Or White” from Michael Jackson.
Producer Bob Marlette plays about every string related instrument like Rhythm Guitar, Bass, Keyboards and String Arrangements.
Sid Riggs is on Keyboards and programming and Kenny Aronoff on Drums.
Backing Vocals are provided by Teddy Andreadis, Eric Dover, Calico Cooper and Gionvanna Morana.
If the first two names of the backing vocalists look familiar, they should, as Teddy has done a lot of work with G’n’R and Dover was the singer in Slash’s Snakepit. And the third backing vocalist is Alice Cooper himself, making an appearance as Calico.
All tracks are written by Alice Cooper and producer Bob Marlette.
Triggerman
The sound is definitely on that industrial hard rock style that bands like White Zombie, Coal Chamber and Orgy did.
But in its essence, it’s still a rock song.
Just listen to the Chorus, its 60’s pop. And the ending is in the vein of “Paradise City”.
I am always out of sight A shadow in the mist I don’t need no alibi, cos I don’t exist
Lyrically, it’s about a nobody, a person ignored by society, a person who doesn’t exist, but when that trigger is pulled, they do exist.
Deeper
A very heavy and down tuned chugging riff opens the song. The Pre-Chorus is haunting, with the symphonic Church sermon like voices.
Down and down and down we go We’re in a deadly spin
Dragontown
An ominous like Intro begins it.
Then Alice starts his vocal melodies.
Well, here you are Lying bleeding on a grimy street See the broken glass sparkling darkly As it cuts your feet
So descriptive.
The Pre Chorus is heavy and I like the vocal melody when Alice is singing, “come on, I’ve got something to show you”.
And the Chorus tells the story of how anyone can disappear in “Dragontown”.
This song is as good as any “metal” song released during this period.
Sex, Death and Money
This cut could have been on a Rod Zombie album. And the Alice sarcasm is back as by the end of the song, we are all going to fry because of our lack of morality.
Sex, death and money, sonny Makes this wicked world go round Sex, death and money It’s the Gospel here in Dragontown
Amen to that.
Fantasy Man
You just want to squeeze my masculinity Why can’t you leave it alone
It feels like a cut from “Hey Stoopid”, a mixture between “Hurricane Years” and “Feed My Frankenstein”.
Somewhere in the Jungle
From reading the lyrics, you get the idea that somewhere in the jungle the devil is laughing, as an African genocide takes place, making even the wild animals run away from the madness and slaughter while the million bodies are piled on top of each other, arms and legs, feet and hands.
It’s heavy like Ozzy’s “My Jekyll Doesn’t Hide”.
Disgraceland
Downtuned 12-bar blues. That’s what this song is.
An Elvis Presley inspired verse, which also reminds me of a cross between Johnny Cash, Chris Issak and George Thorogood.
And Alice is doing a commentary on the absurdity of how the greatest rock ‘n’ roll hero of all time died on a toilet.
Sister Sara
How low can a guitar go?
In this song, very low.
And like “Sister Mary” in Operation Mindcrime, “Sister Sara” is in a bit of trouble. While “Sister Mary” had issues with an terrorist organisation controlling sleeper cells, “Sister Sara” gets caught with the Bishop and many other cardinal sins to feed her habit.
Every Woman Has a Name
An acoustic guitar arpeggio riff starts it off and Alice tells the story how dreams of youth are taken away by the cold hard and unforgiven world we live in.
I Just Wanna Be God
A bone crunching intro riff starts it off reminding me of Godsmack, Monster Magnet, Mudvayne, Static X and I like it.
And there’s a killer solo as well.
It’s Much Too Late
Then this one kicks in, more Country Rock and totally out of leftfield.
Alice is in his demented “Steven” character voice.
The road to hell is littered with nice guys with good intentions But once you’re there, you’re there
The Sentinel
And the album is rounded out by another dose of massive industrial downtuned riffs.
I am the sentinel I want the world to know I’m sending you all to hell I’m tired and I’m wired here to blow
Amen. The countdown has begun.
While none of the songs became concert staples, the album did what it needed to do. Get Alice Cooper on the road.
“Animosity” is album number 3 and it was released on November 13, 2001. Four months later it was certified gold by the RIAA.
This is their best album, a mixture of their Nu-Metal grooves with a lot of melody and head banging riffs.
Just think Rage Against The Machine riffs merging with Metallica riffs and melodies and Faith No More riffs and melodies.
Sevendust is Lajon Witherspoon on lead vocals, Clint Lowery on lead guitar, and co-lead vocals on “Xmas Day” and “Angel’s Son”, John Connolly on rhythm guitar, Vinnie Hornsby on bass and Morgan Rose on drums.
This album really highlights what a great talent Lajon Witherspoon is. His vocals are exceptional.
T.O.A.B.
Written by drummer Morgan Rose, it stands for “Tits On A Boar”.
In case you are not familiar with it, it means a person, place, event or item in which there is little or no value.
Musically and vocally it could have come from the debut.
And any song that starts off with “Die you piece of shit!”, well you know you ain’t gonna get a love song.
Praise
Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.
A great riff kicks this off, something that Stone Sour would do a lot off.
Trust
Written by Clint Lowery and Lajon Witherspoon.
The power of the Intro riff hooks me in immediately.
Then it’s just bass and drums for the verses and Lajon delivers a killer vocal melody.
And if you are in any doubt, press play for the Chorus.
Also it wouldn’t be a Sevendust song with a head banging interlude.
Crucified
Written by Clint Lowery, Lajon Witherspoon and Morgan Rose.
It continues the standard set with “Praise” but the Chorus is more melodic. Very Disturbed like.
And lyrics like “Don’t you feel like a bitch / Don’t promise shit you’ll never be” set the aggressive tone.
Xmas Day
Written by Clint Lowery.
A ballad, which reminds me of Soundgarden, Alice Cooper 70s version and other
Don’t know how she gets by Sleeps with a phone on her chest And a bottle that’s totally dry Forgets the day I was born But if she saw me right now
The lyrics more or less sum up what the song is about.
But press play to hear the Chorus and the great vocal performances.
Dead Set
A Lowery, Rose and Witherspoon composition. It’s a heavy rocker with another killer Chorus.
I dodge the grave almost every day
Shine
A Witherspoon composition with a syncopated groove riff in the verses which is head banging material.
I’m on a free fall / So hard for me to shine
Follow
A Lowery and Connolly composition with Aaron Lewis doing additional vocals. Goddamn it could pass as a Staind or A Perfect Circle song.
And how good are the opening lyric lines.
Time can take everything that surrounds you
Damaged
It’s a Connolly and Rose composition.
How could you really know as your blood flows The damage left inside
No one will ever know the damage done especially the mental damage.
Live Again
Another Connolly and Rose composition. And if you press play on a track from this album this is it.
Look at yourself and live again
That Chorus. So emotive and catchy.
Beautiful
A Lowery, Rose and Witherspoon.
Another killer heavy Intro that gets me thinking of Faith No More with a Chorus that reminds me of Godsmack.
Redefine
A Lowery, Rose, Witherspoon with a heavy riff that reminds me of Disturbed.
But that Chorus riff. So cool to play with the octaves.
Angel’s Son
A Lowery and Witherspoon acoustic composition.
It was originally released on “Strait Up”, a tribute album of Lynn Strait, former lead-singer of the band Snot. Strait died in a car accident on December 11, 1998, at the age of 30.
If you thought Sevendust was just too heavy for ya, then check this album out.
destroyerofharmony 