Category Archives: A to Z of Making It

A to Z of Making It, Classic Songs to Be Discovered, Derivative Works, Influenced, Music, My Stories

Metallica – 72 Seasons

It bored me on the first couple of listens.

Then my vinyl came in and I listened to it the old way, cranking the stereo with the lyric sheet in front of me.

And I kept thinking.

Stryper would like to have their yellow and black colors back. The colors of caution. If you grew up in the 80’s you would know that Stryper had the “Yellow And Black”. And as much as those colors are associated with Stryper, as part of the Stryper reunion in the early 2000’s, one of the stipulations from Michael Sweet was that he wouldn’t wear the Yellow and Black anymore.

So Metallica took it 20 years later.

In the “So What” interviews conducted by Stefan Chirazi and available on the Metallica website, Chirazi asked James Hetfield what the colour yellow means. James, responded with the following;

“Yellow, for me, is light. It’s a source of goodness. So against the black, it really pops.

My vision was I wanted this album [to be] called “Lux Aeterna” because that summed up all the songs for me, kind of an eternal light that was always inside of us that maybe is just now coming out.

And I was out-voted, which is great. “72 Seasons” is definitely more chewable. But that colour came out of “Lux Aeterna.”

“72 Seasons” is released on their own “Blackened Records”.

They are free to do what they want, and it all happened because they control their masters and the highly lucrative back catalogue. Not another label or some investment fund. It is them.

They print so much vinyl they purchased their own vinyl press. Because they can.

As part of the press releases, Hetfield stated “the first 18 years of our lives, that form our true or false selves. Much of our adult experience is re-enactment or reaction to those childhood experiences”.

So here we go.

72 Seasons

As told to Stefan Chirazi, in the “So What” interview, this is what James had to say about it; “It was the “72 seasons of sorrow,” and I dropped the “sorrow” part because the first 18 years of life aren’t all sorrow”.

One thing about the songwriting team of Hetfield and Ulrich is that they sure know how to start off a song.

When that fast riff comes in at 50 seconds it’s mosh pit time. And at 65 seconds it’s the same riff but played with a hard rock feel.

“Shot down, traumatic, time haunted by the past”

What an opening line.

It’s easy to read the situation as someone who has experienced significant emotional trauma, and this trauma continues to affect them in the present.

The opening phrase “shot down” is interesting to me. It generally implies a sudden, unexpected loss or defeat. This could be a reference to a specific event that caused the trauma, such as the loss of a loved one or a significant failure.

And with the phrase “time haunted by the past”, it suggests that it is difficult to focus on the present, as the events of the past are a constant reminder.

Shadows Follow

I gotta say, I like the way this song starts. Actually all of the riffs in this song are headbanging.

I also like the whole “Seething, breathing, nightmares grow”. It’s a different vocal style for Hetfield. It’s simple and very melodic.

“Facing my demons, now I run, still my shadows follow”

It’s menacing and it goes to show the mind state of Hetfield as he tries to confront his inner demons or personal issues, but despite his efforts to escape or avoid them, the problems continue to affect him.

And then there is the word “shadows”.

It could be interpreted as a metaphor for the negative aspects of Hetfield’s personality or past experiences that continue to linger and affect him.

Screaming Suicide

This track is classic Metallica.

Rob Trujilo thinks this song would be a killer in the live arena because there is a groove element to it.

Via the “So What” interviews, Trujilo has stated that; “the verse in that song is different from anything Metallica’s ever done, and it’s surrounded by this groove that is just so infectious, it captures you, kicks you in the ass, and, well, you’ve got to move.”

Lyrically it’s dark.

In the first verse, Hetfield is telling us about a voice inside and how it is questioning if he’s good enough and how he should just give up.

In the second verse, the lyrics state;

“Then a voice appears, whisper in your ears, “you are good enough”, throwing down a rope, a lifeline of hope, never give you up”.

Does it suggests a moment of encouragement and support as the rope is pulling Hetfield out of the dark hole or is the rope a noose.

The phrase “you are good enough” could be a powerful statement of validation and acceptance.

How can it be that the Metal God known as Hetfield is struggling with feelings of inadequacy or self-doubt?

But is the voice offering a message of self-worth and confidence as a way to trick the person into listening to it.

How good is the section from 3.50?

Sleepwalk My Life Away

The Intro.

It builds perfectly. The bass is dominant while the guitars decorate like “Enter Sandman”.

And the bluesy riffing is back.

Maybe it’s back too much but i don’t care.

“Stagger on through the fog in the midnight sun”.

Its metaphorical.

It could represent a challenging and confusing situation that the person is facing, where they must navigate through unclear circumstances (the fog) while enduring a continuous period of brightness and clarity (the midnight sun).

Additionally, the word “stagger”, a lack of balance, due to alcohol or some other addiction, shows that the person is unable to maintain their composure in the face of difficulty.

You Must Burn

Hearing this, I can hear those groove metal tracks like “Harvester Of Sorrow” and “Sad But True”. And I like it.

Via “So What”, this is what Trujilo had to say about the twisting middle section;

With this particular middle section that came to be, that was really centered around a jam and was very moody, and there’s a danger to it; I like how the bass is walking. It’s got a feel to it where it’s “walking through a forest,” like a scene from a Tim Burton movie or something. That’s the feel I get. And James and I just started kind of grooving on it. It was just the two of us.”

How good is the riff at 4.26?

“Smile as it burns to the ground, the perfect don’t want you around, question yourself you may learn who’s the next witch you must burn”

Smile people as you watch that something you disliked or have been rejected from burn to the ground.

The latter part of the line, “question yourself you may learn who’s the next witch you must burn,” is more metaphorical. Its asking is to reflect on our own actions and judgments, perhaps in relation to the exclusion we also might have experienced.

Overall, this line seems to be expressing a somewhat dark and cynical perspective on social dynamics and human behavior otherwise known as social media.

Lux Aeterna

I had to look up what “Lux Aeterna” meant. I knew that “Lux” meant “Light” but wanted to know more. Well “Eternal Light” is the answer.

While acts like Judas Priest, Iron Maiden and Def Leppard became commcercially successful, the biggest Metal band in the world right now, wouldn’t exist if it wasn’t for Diamond Head.

A tribute to “Diamond Head”, their “Kill Em All” album and their fans.

“Amplification, lighting the nation” Hetfield sings.

Crank it.

Crown Of Barbed Wire

“So tight this crown of barbed wire”

The Metaphorical Crown of Thorns.

The “crown of thorns” is often used to refer to the painful burden that someone is forced to bear.

The “crown of barbed wire” suggests the heavy burden Hetfield is carrying, that is causing him pain and distress.

Barbed wire is also used to create boundaries or to keep people in or out of certain areas. The “crown” of barbed wire could represent the sense of being hemmed in or limited in some way.

I like the “Harvester Of Sorrow“ feel in the Interlude and Solo Section.

Chasing Light

“Harvester Of Sorrow” is back again. I love the groove from the original song and I like it here.

Then it morphs into a speed Metal track.

How good is that Chorus?

I’m screaming at the top of my lungs, “chase the light, lean on me”.

If Darkness Had A Son

The military style drumming hooks me in. And the way Hetfield builds the guitars reminds me of “Now That We’re Dead” which is my favorite song from the “Hardwired” album.

Let’s go back to 2019.

I remember it well. Metallica were about to arrive in Australia to play a lot of sold out shows, but the tour was cancelled a week before the shows as Hetfield entered rehab again.

Are we surprised when Hetfield chants “temptation”?

“If darkness had a son, here I am”

What an iconic and powerful line.

It suggests a willingness to confront the darkness and embrace one’s own inner struggles, but it also carries a sense of danger and potential for evil.

Too Far Gone

It’s classic Metallica.

And I’m a big fan of the fast punk vibe in the Chorus.

Finally Kirk Hammett breaks out some decent licks. Especially the fast picking bit between the Chorus and Verse. Very “Master Of Puppets” like.

And that “all away” section is perfect.

The song ends with “make it through the day, just for today”.

Room Of Mirrors

It’s a punk song.

“In a mirrored room, all alone I stand, strip away the phantom fame”.

It shows a desire for self-reflection, authenticity, and honesty. Hetfield wants to show us who he truly is, without the illusions of fame and celebrity getting in the way.

And I like that Thin Lizzy like harmony after the solo, which they use a few more times throughout the song.

Inamorata

I had to look up what it meant.

“Inamorata” means “the woman that a man loves”.

The woman here is called Misery and when Hetfield sings “She’s not why I’m living” and “She’s not what I’m living for”, you feel every word.

Via “So What”, this is how Hetfield sums it up; “Misery as my mistress, and I’m trying to hide her. I enjoy her at certain times, but I don’t want the world to know about her.

I don’t want to introduce her to the world because it’s not okay. So misery as a mistress, it does serve a purpose in my life, but I don’t want it to be my life, and I’m tired of it running my life.”

Via the “So What” interviews, Trujilo stated they “hit a grand slam with “Inamorata”. It’s a cross between a beautiful old film with a really cool painting or something… it resonates “California.”

5.11.

It’s the breakdown. The hi-hat shimmering in the background. The bass playing a groove. Swing like. The guitars decorate.

It’s got a Bill Ward Sabbath groove and swing.

And Hetfield, The anguish.

Then the harmonies begin, like “My Friend Of Misery” and a section from “Orion”.

Its why I press play.

Press play and band that head. \::/

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Darker Still

“Darker Still” is a song by the Australian band Parkway Drive. It is also the title track of their 2022 album.

It is one of the best Metal tracks released in the 2020’s decade.

When it comes to Metal, there is always a discussion as to “what is Metal?”

Growing up in the 80s, there was a period up to about 1985 when any album with distortion guitar was classed as Metal.

This meant that you would find AC/DC, Bon Jovi, Motley Crue, Kiss, Metallica, Venom, Def Leppard, Iron Maiden, Black Sabbath, Ozzy Osbourne, Twisted Sister, Judas Priest, Van Halen, Scorpions and Quiet Riot (just to name a few) in the Metal section. Even Punk bands ended up in the Metal section.

But the scene fragmented. Blame the labels and MTV.

The massive sales of albums from Def Leppard, Scorpions, Judas Priest and Van Halen in 84 and 85, paved the way for the massive sales to come from Bon Jovi, Europe, Guns N Roses, Whitesnake and Def Leppard again between 1986 and 1989.

The labels needed new names and suddenly Glam/Hair Metal was a thing, Hard Rock was a thing, Melodic Rock was a thing, Thrash Metal was a thing, Death Metal became a thing, Melodic Metal became a thing and then Melodic Death Metal became a thing.

And somehow a thing called Black Metal and Extreme Metal became a genre.

On the other side you had Speed Metal, which morphed to Power Metal and then elements of that style became known as Symphonic Metal and another element became known as Pirate Metal.

And we all know that Grunge came and created a wasteland of rock acts. Industrial Metal and Industrial Rock started to rule the wastelands, and then Alternative Rock and Alternative Metal came briefly just to give way to Nu Metal.

And before Nu Metal, there was Grindcore, Hardcore, Doom Metal and everything else that didn’t fit in.

Parkway Drive started off in the 2000s with a Metalcore label. Metalcore is described as a fusion music genre that combines elements of extreme metal and hardcore punk. Its known for its use of breakdowns, slow, intense passages conducive to moshing.

These days Parkway Drive is basically a Metal act (and a pretty big one) that has so many different styles in their repertoire.

Like Metallica.

Metallica in the 90s, had became a very different version to the speed Metal band that started off. While their 80s output focused on speed, they did push some boundaries in the progressive Metal world before scaling it back to end up with the biggest selling groove Metal album ever.

Then they incorporated Blues Rock and Southern Rock into their sound for the “Load” and “Reload” album cycles. And when Nu Metal became a thing with no guitar solos becoming the norm they did this as well with the “St Anger” album. But since the fans became madly in anger with them, they never returned to the “No guitar solos”.

Metal to me is an “anything goes” attitude. And that’s what Parkway Drive brings to the table.

“Darker Still” has a lot of solos. Melodic solos. Emotive and sad by Jeff Ling who is the lead guitarist and man, he plays the sections wonderfully. But the recording sessions for this album along with some personal issues broke him and he lashed out badly at vocalist Winston McCall.

Just the way it begins with the whistling and the acoustic guitar is enough to hook me in.

But it’s the whistling melody which comes in at the 28 second mark that forms the foundations of the song. Because the same melody appears later as a solo, and with a choir and with violins and it’s massive.

Especially from 4.08. You hear it all, the guitar lead, the voices and the violins. Just close your eyes and let the music take you away.

And Ling breaks free again, for one of his best solos.

The song’s lyrics to me are about a person struggling with depression and the darkness that comes with it. It describes the feeling of being trapped in a cycle of self-destructive behavior, unable to break free despite the toll it takes on their life and relationships.

The chorus of the song is powerful, with the lyrics “And the night grows darker still”

This line speaks to the idea that even in the darkest moments of our lives, there is still hope and the possibility for redemption and recovery.

After they finished doing the tracking for the “Darker Still” album, the band members started the process of breaking up. No one wanted to be in the band anymore.

More volatile meetings were held and the guys realized they needed help.

Rhythm guitarist and manager, Luke Kilpatrick, saved the band. He suggested that they get counseling. Like Metallica.

The April 2022 tour they cancelled of the U.S for undisclosed reasons was due to the weekly counseling sessions they started to have.

And they made it.

Until I die, until I die and the night grows darker still.

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Dust And Gold

A shimmering clean tone guitar sets the song but it’s the vocals from Dave Hodges which makes me a fan.

Yes it’s the same David Hodges who was a studio contributor to Evanescence between 1999–2002 which accumulated in the “Fallen” album.

He has since had success co-writing and co-producing for various pop, pop rock and country artists, including Kelly Clarkson, Celine Dion, Daughtry, Backstreet Boys, Avril Lavigne, David Archuleta, Christina Aguilera, Carrie Underwood, Jessie James, 5 Seconds of Summer, and Tim McGraw. His career is basically an “A to Z in Making It”.

“Dust and Gold” is a song by Arrows To Athens, a David Hodges band project. It was released as a single in 2011 and later included on the band’s debut album, “Kings & Thieves” released in the same year.

It’s sitting at 5.4 million streams on Spotify. Forgotten. It’s a tragedy.

It’s down to you and me
On these cold and empty streets
Forgotten what we’re living for

The “you “ in this case is the persons belief.

The lyrics describe a struggle to find meaning and purpose in life. Their is reflection on the challenges and hardships faced, and wonders if there is any deeper significance to the experiences.

All I see are kings and thieves
When all I own is just dust and gold

The album title in the Chorus of another song.

The phrase could be interpreted in a few different ways, but generally, it speaks to the idea that people in power and those who steal or exploit others, who are normally the ones in power, seem to be the most visible and influential figures in society, while the second part of the phrase, “when all I own is just dust and gold,” could mean that the person has come to the realization that material possessions, hold little value in the grand scheme of things. This may contrast with the wealth and power of the kings and thieves mentioned in the first part of the phrase.

It can also be interpreted as a metaphor for the idea that while we may be insignificant in the grand scheme of things, we still have value and worth.

The mood and feel of the song has made it a popular choice for use in film and television, and it has been featured in trailers for movies like “The Mortal Instruments: City of Bones” and TV shows like “The Vampire Diaries.”

Musically, “Dust and Gold” features a driving beat and soaring vocals, with a sound that is reminiscent of bands like Thirty Seconds to Mars and Imagine Dragons.

Overall, “Dust and Gold” is a powerful and inspiring song that speaks to the universal human desire to find meaning and purpose in life, and to recognize the value of our own experiences and struggles.

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1976 – Part 5.9 and Australian Method Series: Status Quo – Blue For You

“Blue For You” is studio album number 9 for Status Quo released in March 1976. Coming into this album, they had built up a pretty solid fan base in the U.K, Australia, Netherlands, France, Spain and New Zealand.

And they never properly broke through into the U.S market on the backs of sales, but with the streaming numbers they are getting these days, you could say that the band has broken into U.S market.

How many bands get a chance to record 9 albums?

And guess what, their biggest songs, would come on subsequent albums?

Status Quo for this album is John Coghlan on drums, Alan Lancaster on bass/guitar and vocals, Rick Parfitt on guitar/keyboards and vocals and Francis Rossi on guitar and vocals.

Is There A Better Way

Is there a better song that merges pub rock, rock and roll and a bit of street attitude then this?

Press play and let Status Quo mesmerize you with this.

Mad About The Boy

A 12 bar blues boogie tune. 

Ring Of A Change

Thousands of bands played like this in 1976. Some had success doing it and others didn’t. Status Quo had very good vocalists behind this with pop like sensibilities who also rocked hard.

Blue For You

The title track. It’s got that 60’s rhythm and blues feel. 

Rain

I’m a fan of the more energetic songs like this one. 

Written by guitarist Rick Parfitt, “Rain” also became the first single from the album, reaching No. 7 in the UK charts after its release in February 1976.

Its B-side was the non-album track “You Lost the Love”, written by Francis Rossi and Bob Young.

The riffs in this song can be heard in the NWOBHM which came after. When ELO decided they wanted to rock, they sounded like this. They would use this kind of riff to greater commercial success later on with “Whatever You Want”. AC/DC also made a name for themselves jamming on chord vamps like this.

Rolling Home

It has this “Radar Love” blues rock vamp happening. The only thing you could do is tap your foot and rock on.

That’s A Fact

I love the groove on this. It’s almost funky, but not. It also reminds me of “American Woman”.

Ease Your Mind

It’s a bit of Beatles, it’s a bit of rock and roll and a bit of soul. And a like it.

Mystery Song

It’s like a progressive rock song without the time changes as the song goes through moods between atmospheric dream like folk rock to a full blown pub rocker.

And the album ends here. 

But in 2005, they re-issued the album with some bonus tracks.

You Lost The Love

Dreamy pop rock written by guitarist Francis Rossi and Bob Young.

Wild Side Of Life

It sounds like a Beatles cut. And I like it. 

It’s a cover song made famous by country singer “Hank Thompson and His Brazos Valley Boys” (now that is a band name) and written by Arlie Carter and William Warren.

It was originally released in 1952, and while it wasn’t on the original album for Status Quo, they did release it as a single in December 1976.

A perfect Christmas gift for those hardcore Status Quo fans. Its B-side was a new composition called, “All Through the Night”. The single reached No. 9.

Remember when artists used to do this. Release albums and singles more frequently. This was the strategy up to about 1985.

The rise of MTV in the 80’s and the “Blockbuster Release” strategy of spending a lot of dollars to get an album that each song could be a potential single (think “Thriller”, “Born In The USA”, “Brothers In Arms”, “The Joshua Tree” just to name a few) changed this model, because everything was about maximising the promotion of each release so the act could get multi-platinum sales.

There were a few surprises like “Back In Black” from AC/DC, “Pyromania” and “Hysteria” from Def Leppard, and “Slippery When Wet” from Bon Jovi. They were just albums put together and they sold even higher than the “Blockbuster” albums.

And a bit of trivia, bassist Alan Lancaster had to come back home to Australia, so the bass duties on “Wild Side Of Life” are done by Roger Glover from Deep Purple.

All Through The Night

It’s got this heartland vibe written by guitarist Francis Rossi and bassist Alan Lancaster. I dig the major key riff which is played under the chorus hook.

If you are keen to check out some 70’s hard rock and blues with smooth vocals, press play on this.

P.S.

Status Quo are a British rock band formed in 1962 and originally called “The Scorpions”.

I am stretching the Australian link because founder and bassist Alan Lancaster, moved to Sydney after meeting his Australian wife.

After Status Quo, Lancaster played with leading Australian bands, The Bombers and The Party Boys.

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How Has It Aged: Evergrey – Glorious Collision

A long time ago, I read a review on an old Yahoo run site, that classed Evergrey as “Doom metal” and “Dark Metal”. There is no doubt that Evergrey has built a career on writing songs that deal with sorrow, depression and a whole range of dark emotions. I have read reviews that state the band should lighten the fuck up.

But hey, no one said that life is pretty.

Evergrey’s 2011 album “Glorious Collision” is their 8th album. Like the albums before it, and like the albums that came after, it is a powerful and emotional journey through the human experience.

The press release had something like, the album’s sound is characterized by heavy guitars, soaring vocals, and intricate melodies that create a wall of sound that’s both intense and immersive.

But the reviews weren’t that kind. The usual websites who give every artist glowing reviews kept the reviews glowing, but when you get down to the more elitist blog sites, the reviews weren’t that kind.

The power metallers didn’t like, as they saw the band selling out and moving more into a commercial classic rock setting. The progressive websites kept saying they are not progressive anymore, just bland modern metal.

But, music is a connection between the artist and the fan. And Evergrey, courtesy of founder/vocalist/guitarist Tom Englund have fostered that connection with each album.

Production duties for “Glorious Collision” are also handled by Tom Englund.

But. Remember. Life isn’t pretty.

In May, 2010, before the album recording/writing even started, drummer Jonas Ekdahl, guitarist Henrik Danhage and bassist Jari Kainulainen left Evergrey. The press release said it was by mutual decision due to problems with the band members interacting with each other. The best outcome was to call it quits as to not ruin the friendship they all have with each other. Ekdahl and Danhage also went on to play with DeathDestruction, a Metal Hardcore band formed by Ekdahl and vocalist Jimmie Strimell from Dead By April.

For this album, founder Tom Englund is on vocals and guitar and Rikard Zander is on keyboards. Joining them is Marcus Jidell on guitar, Johan Niemann on bass and Hannes Van Dahl on drums. Female vocals are provided by Carina Englund (Tom’s wife at the time) and their daughter Salina Englund does guest vocals on “I’m Drowning Alone”.

Leave It Behind Us

In the twilight of the line-up changes and the turmoil of what was left of the band, Englund and Zander didn’t even know if they were going to continue. From 5 members only two remained. Then they wrote “Leave It Behind Us”.

All things that were known now are changing

It sums up what Englund felt back then and it also represents the melancholy of the album. The music is written by Tom Englund and Rickard Zander with Englund writing the lyrics as well.

You

The music is written by Englund and Marcus Jidell with lyrics written by Englund. It’s a classic rock track with a modern metal sound. And I like it.

And if weakness is a virtue
And an act of strength a pride
Then I am king and misery’s my empire

It’s a song about being let down, because the “you” in the song, is the one who said they will be there. But their nowhere to be seen.

Wrong

It’s another Englund and Zander composition.

The album’s standout track which features a powerful vocal performance from Englund and an uplifting chorus that resonates. The song encourages you to stay true to yourself in the face of adversity.

It’s also the first single and it was certified gold in the band’s home country for sales in excess of 10,000 copies. I know it’s not a lot when you live in the North American market, but for a small market like Sweden, it’s plenty. This is also the band’s first certification in Sweden as well the first certification for their label at the time, Steamhammer/SPV in Sweden.

I always thought that I would know
That when things were broken it would show
Somehow I thought I always knew
The difference between the lie and truth

Blindsided by change. It’s never easy to deal with, especially when you are the one being blindsided.

It’s obvious Englund is writing about a relationship. And the way the lyrics are written, most people might think it’s about a romantic relationship, but in the end it could be about any kind of relationship, romantic, parental or friendship.

Frozen

Like the opening track, this hard hitter has music written by Zander and Englund with Englund writing the lyrics.

Everything is built from change
All the things we recreate
Fallen – lost – forsaken faith
The unspoken made us frozen

It’s a powerful opening verse.

It’s bleak, and it shows how not talking about matters when you need to, leads you to being frozen many years later, when a separation happens.

Restoring the Loss

Written solely by Englund. Despite the heavy subject matter, there’s also a sense of hope and resilience that runs through. The song explores the power of forgiveness and redemption.

Don’t ask me to stretch any longer
These arms are strained beyond what they can take
Don’t ask me for strength cause it’s gone
And I’ve reached my end restoring the loss to faith

We’ve all been there. As a species we don’t know how to say NO to people. So we end up worn out, used and unable to meet any commitments.

To Fit the Mold

This song connected straight away.

Lyrics are written by Englund with the music coming from Englund and Jidell. The song lyrically explores themes of conformity, loss, pain, and isolation.

We’re scared we’ll end up to nothing
And we change to fit the mold
We are…
We’re accidents forced to happen

It’s a brilliant chorus. You really don’t know how strong family and social ties are in your life, until you get older. The conformity that these two institutions want to happen, is at another level.

I know from my point of view, I had to set some boundaries when it came to dealing with family, because it didn’t matter what I did, people were never satisfied.

Out of Reach

Lyrics are written by Englund with the music coming from Zander and Englund.

So what now my friend
Where do you go from here
When will the dark days end
And all the clouds clear

Falling out of reach
You can’t prevent it
You can’t cause
All wounds won’t heal

One thing I know in life, is that change is constant. The biggest argument I have ever had is with people close to me, like family or friends. It’s always the case. They felt that my actions disappointed them, and I felt the same way towards them. When partners get involved, it makes it even more complicated.

When I think of the word “wounds” in the song title, I think of the hurt that is felt after words have been said. Because the mind, remembers everything.

The Phantom Letters

We get a trilogy of cuts written solely by Englund, with “The Phantom Letters”, “The Disease…” and “It Comes From Within”.

I like the melancholy and moody atmosphere this song creates.

All the words that I leave offer reasons
Holds the keys to the doors that I’ve locked
And I knew they would never be opened
Cause the ashes fall from heaven

If you are into self-development books, this is the chapter that says to keep a journal and to write down each day, what you are grateful for, what you have accomplished and what you could do better. It’s also there to write down your fears, concerns and words you want to say to others but due to how you are brought up, you are unable to.

The Disease…

It’s a journey through the ups and downs of life, exploring themes of loss, pain, and isolation.

Been loyal to the blind
Had friends that were not mine
I failed to see the disease before it created distance

Englund is not finished about the departure of the previous members. The album highlights his emotions at this point in time.

It Comes from Within

And I’m lying here
So tired so torn
Threat comes from within

It’s taking me over
It’s making me weak
Brought my doubts to the surface
It’s leaving me helpless with no air to breathe

We are our own worst enemies. Our minds can trick us into doing everything or nothing.

Free

Lyrics are written by Englund with the music coming from Zander and Englund.

It’s a very depressing song but there is a little bit of hope in the Chorus. Here are the lyrics, you decide.

I’ve read your words
I understand it’s said it’s done
I walk away in fear of what you said that I’ve become
Can’t change your words now they are stains made to stay

Free are those who walk away from setting suns
And free are those who laughed at chains that held them bound
Free are those who conquers in vain but won’t stop to run
Battered and down they pick up their pieces to rise as one

Free are souls who wander alone in the shade of sun
And free are those who’s forgotten by all but still warm inside
Free are they with no intention to fold never bend for the cold
Just to find someone too

I’ve read your words I understand it’s said it’s done
I walk away in fear of what you said that we’ve become
Can’t change our words now
Can’t make them undone
I’ll walk away
I’ll walk away
Just walk away

I’m Drowning Alone

Lyrics are written by Englund with the music coming from Zander and Englund. The child choir is haunting here as they are singing the “release me from darkness” part.

Release me from darkness
Release me from all that chains me here
I’m drowning in silence
And I’m drowning alone

I hate to ask but I wouldn’t if I didn’t need it
Not stronger on my own
I’m weaker just so much weaker
And I know I never asked
But I need you to help me

It’s okay to ask for help. So don’t be afraid and do ask for help.

…And the Distance

Lyrics are written by Englund with the music coming from Zander and Englund.

I always presumed that since “The Disease” had three full stops at the end of it, and “The Distance” had three full stops at the start of it, that these two songs originally made ONE song called, “The Disease And The Distance”.

You’re keeping your distance, you’re pushing me away
You’ve never let me say the words I want to say
Our time here has withered
Our circumstances changed

The themes of keeping silent to keep the peace run throughout the album. And the last song demonstrates that keeping the peace doesn’t lead to a happy future. It just delays the inevitable war that is about to come in a few years, maybe even a decade.

In its first week or release the album sold 900 copies in the United States. Hardly ground-breaking, but Everygrey always had a cult-like following. I actually purchased my version from the U.S Amazon Store. So I am not sure if my purchase counts as a U.S sale or an Australian sale.

The album was a new dawn, a new era. But that new dawn didn’t last.

The break with drummer Jonas Ekdahl and guitarist Henrik Danhage was civil enough to begin with, so when things started to break down with guitarist Marcus Jidell and drummer Hannes Van Dahl, the former members were soon back in the fold. I also think the commercial failure of their side project DeathDestruction also helped speed this reunion up.

But their side project was also halted when vocalist Jimmie Strimell left to focus on Dead By April, as they appeared on the Swedish Eurovision Song Contest and got a second breakthrough in Sweden.

In relation to the Evergrey change, it happened when writing for the follow-up album started. Via Facebook posts, the band first confirmed that drummer Hannes Van Dahl would be leaving the band to join Sabaton as a full-time, and then due to “problems working together” guitarist Marcus Jidell would also be leaving. Van Dahl, is still with Sabaton, appearing on their last four albums. Marcus Jidell has been busy. He has Avatarium, who are actively releasing new product, plus The Doomsday Kingdom, and between 2015 and 2018, he played guitars in Soen.

As a fan, there is not a weak track on the album.

Overall, “Glorious Collision” is a triumph for Evergrey but more so a triumph for Tom Englund, who kept the identity and brand of Evergrey running, when he felt like he had nothing left to offer. His ability to combine heavy, atmospheric music with deep, introspective lyrics is truly impressive, and this album is a testament to his talent and dedication. If you’re a fan of heavy metal and rock or just appreciate well-crafted music with emotional depth, this album is definitely worth a listen.

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A to Z of Making It, Copyright, Music, My Stories, Stupidity

Fair Recognition

Work For Hire agreements are crap.

The term was never mentioned when it came to signing an artist to create content. It became a thing, when the corporations had to find a legal loophole to use against the creators trying to get their rights back, even though Copyright law states they can get their rights back after a certain period.

A work made for hire, is a piece of copyrightable work created by employees as part of their job or as part of a limited type of commissioned work for a flat fee. In the United States and certain other copyright jurisdictions, if a work is “made for hire,” the employer, not the employee, is considered the legal author. In other words, the creator of the work gives up all ownership and administration rights for a flat fee.

The earliest use of “Work For Hire” was in the arts industry like comic books and artists who designed album covers. Marvel is no stranger to these kind of cases. Stan Lee (creator of most things Marvel), Gary Friedrich (creator of Ghost Rider), Joe Simon (Captain America creator) and Jack Kirby (illustrator/artist on the Stan Lee projects) are a few names that had litigation cases brought against Marvel.

The Superman creators wrote an article hoping that the original Christopher Reeve movies bomb at the box office because they weren’t fairly compensated. The movies did the exact opposite.

Read this Billboard interview with Don Henley, who is very interested in artists rights. While I agree and also disagree with Henley’s views on a wide range of topics, one thing is certain; Henley cares. As a member of The Eagles, and after being a Copyright rookie, he schooled himself on what his entitlements are as a creator. Don Henley owns his post 1978 work as a member of The Eagles and as a solo artist. He knows that his pre-1978 works can be reclaimed from 2028 due to another sneaky Copyright addition for pre-78 works.

If you don’t want to click on the Billboard link, here is the question from Billboard and Henley’s answer.

QUESTION:

The first issue you were known for being active on was the effort by the labels to have recordings considered “works for hire” — which I think was the origin of the Recording Artists Coalition. How important was the coalition in stopping that? And you learn anything from it?

In 1999, the lobbying group for the major labels, the RIAA, buried a fundamental change to the Copyright Act in a completely unrelated bill, the Satellite Home Viewer Improvement Act of 1999.

Without input from the artists, they amended the definition of ‘work for hire’ in the Copyright Act to include ‘sound recordings.’

The consequence of this amendment would have been devastating for recording artists. It would have effectively eliminated artists’ ability to regain ownership of their sound recordings in the United States.

The ability of the RIAA to pass a bill which amended the Copyright Act without opposition from the creative community was a direct result of the labels being organized and the artists not having a coalition to represent their voices.

So, a group of artists and artist representatives mobilized and formed the Recording Artists Coalition (RAC). Thanks to the many artists who spoke up, and the support of Congressman Howard Berman, sound recordings were stricken from the definition of ‘work for hire’ in the Work Made for Hire and Copyright Corrections Act of 2000. The only reason that recording artists can now regain control of their copyrights from the labels in the U.S. as Congress intended is because the RAC organized and artists spoke up.

I am all for the creators getting proper compensation for their works. There is no way that a corporation told a creator what to create.

Can you imagine the absurdity of it all?

A Publishing House is going to tell Steven King or George Martin or Paulo Coelho what to write. Yeah, right.

Or a Music company is going to tell an artists what kind of song to create.

Those same music companies including Capital Records, Warner Bros. and Sony Music have been falsely registering songs as “made for hire” in order to send takedown notices to the various ISP’s and YouTube.

I’m sure that’s gonna work out well in the long run especially when the artists don’t know that the label is doing that.

Then again, it doesn’t always work out well. This is just one of many.

The cover to Aqualung from Jethro Tull was created by Burton Silverman. The artwork was commissioned and purchased by Chrysalis Records head Terry Ellis in 1971.

Silverman was paid a flat fee of $1,500 for the painting and there was no written contract.

The artist says the art was only licensed for use as an album cover, and not for merchandising; he approached the band seeking remuneration for the additional uses, such as printing it on T-shirts and coffee mugs.

And he got told to piss off.

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A to Z of Making It, Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

The Record Vault: Dream Theater – Official Bootleg: STUDIO Series: The Making Of Scenes From A Memory

You see, large legacy artists today are releasing these kind of albums as part of their anniversary editions. Whitesnake comes to mind with their excellent box sets. But Dream Theater, well, they were doing it as part of their Official Bootleg series.

Released in 2003 on Ytse Jam Records, what you hear on this double CD “Making Of Scenes From A Memory” are alternate takes, partial jam sections that are a bit different, random noises and improvisations, plus alternate mixes.

Some of the stuff on CD1 is not that interesting. For die-hard fans like me, it’s okay to listen once and then it goes to the collection.

But there is also some great stuff here.

“Regression” is an alternate vocal take. The guitar progression that JP wrote became the central theme tying the album together. It appears in “Through My Words”, “Finally Free” and is the foundation for the excellent, “The Spirit Carries On”.

“Through Her Eyes” has James LaBrie trying a few different vocal melodies but the piece d’resistance is the sax solo on the outro which was left off the final mix.

The booklet notes from Portnoy mentions the following for “Through Her Eyes”;

“Originally we wrote 2 different versions of this song.

The working title was “Titanic” so there was the “Short Titanic” (this arrangement that ended up making the final CD) and the “Long Titanic” (which was more of a traditional rock arrangement, with drums and some additional chord progressions).

Because of time restraints, the “Long Titanic” is not included on this CD, but it can be found on the closing credits of “Metropolis 2000 – Scenes From New York” DVD.

John Petrucci’s vocal demo guide for ‘The Spirit Carries On’, is warts and all auto-tune free and pretty funny to listen to.

And then we come to CD2, which are the original mixes for the album.

This was the first album that had John Petrucci and Mike Portnoy producing. David Bottrill was hired to mix the album because of his work with King Crimson, Peter Gabriel and Tool. It was a weird mix, because Dream Theater in sound is more heavy metal and hard rock with progressive elements. The bands that Bottrill worked with are not hard rock and heavy metal. They have unique soundscapes special to them.

Bottrill mixed the album in 10 days with the band members giving him “expert advice” to make the drums louder, more guitars, more keys, higher vocals and higher bass.

While the mixing process was happening, the band members were giving it their tick of approval, however after the mixes were complete and sitting with the mixes for a few days, the band expressed concerns at the sonic intensity of the mixed songs. It was a bitter pill to swallow as they all had large inputs into how it should be mixed.

Petrucci reached out to Kevin Shirley. Shirley had some time to do a few mixes, so they gave him three tracks to start off with in “Home”, “The Spirit Carries On” and “Through Her Eyes”. Shirley did the mixes (on his own, without any band input) and sent them back. The band compared the mixes to the three songs mixed by Bottrill and they were happy with the sonics this time around.

All was not lost as some of Dave Bottrill mixes survived to the final cut in “Regression”, “The Dance Of Eternity”, “One Last Time” and “Finally Free”.

The weird part is you have this low profile official bootleg release, where the fans get the original mix for the album, when nowadays these kind of tracks are the “in thing” for anniversary editions or special remixed editions.

And so far, this release has not been re-released as part of the “Lost Not Forgotten” series via Inside Out Music.

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A to Z of Making It, Music, My Stories, Treating Fans Like Shit

It’s Always Thrown Back To The Artist

If the artist doesn’t get paid from recorded music, well it’s their fault for signing a crap deal or for signing away their rights a long time ago for a big payday. Or they are not big enough to be paid.

And when the tickets to concerts are too expensive it is their fault as well.

Seen all the craziness around Bruce Springsteen and the prices charged for his concerts in the U.S.

For an artist on who has made his living from the heartland, the prices of $4K for a ticket due to Ticketmaster’s “dynamic pricing” algorithm (based on a simple design of high demand vs low supply = price increase on the fly), has left him and his team in damage control.

Even the biggest fanzine dedicated to the boss called “Backstreets” has ceased to exist after 43 years over this. But “The Boss” defended these prices last year. The way Springsteen sees it, someone else (like a scalper or secondary ticket re-seller) was going to sell the tickets at the higher prices, so why can’t it be him and his team that gets the difference between the normal price and the price the fan is willing to pay.

Is there anything wrong with this?

It was going to happen eventually.

Artists have been ripped off for decades so when they have been around the business for a long time, you would expect the artists to do the same as the agencies that ripped them off. Businesses pay taxes when they start out while the established ones pay no taxes. And when those small businesses get big enough and have billions coming through, suddenly they also pay no taxes.

But with the rising costs to put shows on, a lot of smaller to medium artists are cancelling tours because they don’t want to overcharge their fans but they need to overcharge, in order to make some coin. And for the ones who do decide to overcharge, well their fans are not buying the tickets and suddenly the tour or the show is cancelled due to low ticket sales.

The artists and their team (which includes, accountant, lawyer, management and most probably the label if they are on a 360 contract) control it all. The final decision on ticket prices comes back to this team. When Taylor Swift blamed Ticketmaster for her prices, she was trying to save face because she got busted ripping off her fans.

Springsteen had the view that since other agencies have been ripping his fans off for a long time and that’s okay, why isn’t it okay when he The Boss does it.

Ticketing companies then find other ways to get the money from the fans, via booking fees, parking fees and super expensive food and alcohol at the venue. The merchandise companies then find ways to rip off the fans by selling $5 dollar tops at $50, because they have negotiated a set fee with the artist to be the merch supplier to begin with and then they need to split the profits with the artist.

And the artist is central here, however they are just a cog in a massive machine, which likes making money of them.

The labels cannot make money if the artist doesn’t create a song that resonates with people.

Lawyers, accountants and managers cannot make money if the artist is a nobody. They make money if the artist is a somebody.

Promotors, ticketing agencies and merchandise agencies make money from the artists. Streaming services, CD and vinyl making plants and record shops make money because of the artist.

Publishing/licensing companies make money from the artists along with radio stations.

That useless entity known as the Rock And Roll Hall Of Fame makes money from the artists.

And most of the people who make money from the artists are flying on their own private jets while most artists need to tour in busses and vans.

And all the artist wants to do is write and play music and if they have an audience to enjoy playing to them. As a by-product of creating music and having an audience, they would expect to be paid fairly.

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A to Z of Making It, Classic Songs to Be Discovered, Influenced, Music, My Stories, Unsung Heroes

How Has It Aged: Devin Townsend Project – Transcendence

“Transcendence” is the seventeenth studio album by Devin Townsend and it is the seventh and final album in the Devin Townsend Project series. It was released on September 9, 2016, via HevyDevy Records.

Think about that for a second. 17 albums.

It got a lot of awesome write ups and I think Loudwire gave it the Number 1 spot on albums released in 2016. I only listened to two songs from it as they came up on playlists (in “Stormbending” and “Failure”) and never really went back to listen to the full album during that year. I don’t know why I didn’t check it out fully, as “Failure” was and still is a great head banging track.

I don’t know how to describe the album.

I grew up on the sounds of the 80’s. The only thing that resembles the 80’s here is the distortion guitars and some shredding guitar lines. Sometime in the early 2000’s, extreme metal bands started to add atmospheric synths to their sounds, and they slowed their tempos so they have groove. It has some of that.

Then there was a genre called Math Metal which morphed to Djent and its now known as progressive metal. Well it has a bit of that. Operatic themes are present as well.

In the end, Devin Townsend is pushing the bar on creativity and originality, using the various digital audio workstation tools and plug-ins to achieve uniqueness. The future will probably look back at this album and hold it in high regard like the symphonies of Mozart and Beethoven. Maybe he will bring about world peace like the Wyld Stallions did in Bill And Ted.

Truth

A groove metal riff (almost nu-metal like in feel) underpins the song while the synth keys give it a very Euro vibe. At the 1.30 mark it goes into this classical like section.

At 2.15 minutes, it’s like a fire ritual, with a spaced out, very heavily reverb’d “Hallelujah” chant happening over a chaotic wall of noise. It sounds ethereal, dissonant yet melodic and hypnotic. And you can’t really make out the lyrics, (which ain’t much) as they are heavily loaded with effects.

And it ends like mindfulness music.

I also didn’t know it at the time that this was an updated or reimagined version of the same song which appeared on Townsend’s solo record, “Infinity” from 1998. And suddenly the nu-metal feel makes sense.

Stormbending

Devin Townsend can play some serious guitar and the dude can sing and growl with the best of em. In other words, he is one talented mf.

This song was perfect back in 2016 and it still is now.

You need to listen to the section that kicks in 1.46. Did anyone say “guitar hero”? Well you have it with Devin Townsend. The lead break that comes after that reminds me of A Perfect Circle. Actually the whole cinematic like vibe is reminiscent of the debut APC album. Then again, we wear our influences on our sleeves.

At about 3.28, it goes into this major key like vibe. It sounds hopeful and it goes with the lyrical line of “All we’re offering is a change to be loved”. And they continue this vibe before it fades into a cacophony of noises which segue into “Failure”.

Failure

The way this song starts off. It’s so heavy yet it lifts you up.

And they continue that groove (which reminds me of Tool), adding extra guitars, synths, harmonies and what not.

All I could be is press repeat over and over again to hear it.

And while the music is perfection, Devin Townsend reminds everyone what a great rock singer he is. He’s all clean tone, using his natural baritone voice, with high falsettos and when the Chorus kicks in, it’s like a sermon, with some high deity singing to the masses.

At 2.21, a lead break starts. He’s melodic, keeping within key, then he goes all dissonant and chromatic but at 3.11 he goes modal, keeping within the key and I am hooked. Just listen to it.

If you weren’t converted to Devin Townsend by know, this song could be the key.

And at 6.82 million Spotify streams it’s virtually forgotten.

Secret Sciences

It’s got a major key strummed riff to start it off. Its pop music and yet it still sounds heavy.

And when he sings “let it go” in the Chorus, a certain Disney song comes to mind.

Higher

It reminds me of Pink Floyd and “Goodbye Blue Sky” in feel.

Then at 1.20, it goes into a quirky “Higher” chant and then a Tool like groove kicks in, but the vocals are far removed from Maynard.

At 3.25, I like the whole movement and Townsend’s “craft your life” vocal line which then segues into a progressive interlude and an extreme metal passage. Add to that some groove metal over different time changes, operatic vocals and you would think the song is done.

But it’s not.

At the 6 minute mark, it goes into this doom grind riff. It’s so heavy, it will sink ships.

And I am thinking, how did this song which started out so beautiful, descend into chaos and violence musically. That’s the best way to sum up Devin Townsend.

Stars

I have read in reviews that this is a metal ballad. To me it is a metal song. There’s nothing ballad about it. I also love the Chorus hook of “I can see you in the stars tonight, lost in love and light”

And that change at 2.15. Press play to hear it.

Transcendence

It feels like a U2 track with orchestras and a wall of guitars.

Offer Your Light

It’s metal like, with a frantic tempo and a dance like synth pattern. And I like it, especially the angelic voice of Anneke van Giersbergen.

From The Heart

An 8 minute pre-closer. It feels cinematic and grand like when the hero saves the day and the darkness gives way to light.

Transdermal Celebration

The closing track is a cover from Ween, a psychedelic rock band who released this song in 2003. It’s done in Townsend’s unique way and you wouldn’t know it was a cover.

If there is a complaint, there are times when I feel that Townsend’s vocals are buried under the walls of guitar noise and operatic sound experimentations.

Overall, the album still sounds as fresh and as crazy as it did back then. The styles and moods are so schizophrenic that it will never date or be dated to a certain movement or sound like “The Sunset Strip” or “Seattle”.

And I can’t believe I found 1000 plus words to describe it.

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

Australian Method Series: The Poor – Who Cares

When Airbourne came out almost a decade later, most Australians would have said, “we have seen this movie before, and it’s called The Poor.”

But let’s go back a little bit. 

Formed in 1986 in Darwin, Northern Territory. The original line up would go through some changes before they end up with the members who would play on the recorded product.

In 1992, there was “The Poor Boys” who released the EP, “Rude, Crude & Tattooed” on Sony/Columbia Records. It was produced by The Angels’ members Rick Brewster and Bob Spencer. It got the band onto Radio and Music Television. It sounded more like “The Angels”, “Kings Of The Sun”, “Rose Tattoo” and “The Screaming Jets” than “AC/DC”. Then again, all of those bands have roots to AC/DC.

It also got them touring. 

In 1993, another EP called “Underfed” came out, which again, got them on the road. This was produced by Brent Eccles (also a member of The Angels). They followed this release by backing United States acts, “Alice in Chains” and “Suicidal Tendencies”, on the Australian leg of their combined tour. It’s always cool to have an act that rocks like AC/DC.

‘The Poor Boys:” then became “The Poor” to avoid confusion with a US group.

And then came “Who Cares” in 1994. A balls to the wall, sleazy rawk and roll album straight from the pubs and clubs of Australia. It was a middle finger salute to Seattle and Grunge and flannel shirts.

Produced by Paul Northfield, the band is made up of Skenie on lead vocals, original founder Julian Grynglas on guitar, Matt Whitby on bass and the nephew of the Young brothers James Young on drums.

They supported AC/DC on the “Ballbreaker” tour and that is when I got a chance to see them live.

Poison

If you like your AC/DC and D.A.D then you will like this and the innuendo in the Chorus hook, “come on baby, take your poison, you want it, I got it”. The only thing missing is “pulling the trigger of their love gun”.

Dirty Money

This could have come from Baby Animals and I like it. It also appeared as the opening track on their “Underfed” EP from a year before.

Man Of War

A Jimmy Page like acoustic fingerpicked intro kicks it off.

A serious attempt telling the “man of war to stop the bleeding”. I guess things haven’t changed. War is a constant in our lives.

At 1.23 the song kicks into overdrive. 

Tell Someone Who Cares

Oh, that riff in the intro, it could sink ships at its heaviness. It then drops out and lets the bass rumble when the verses kick in.

Press play to hear it. 

And the Chorus is basic, a tribute to those AC/DC Choruses. 

More Wine Waiter Please

What a title? 

Full of decadence and debauchery. The riff to introduce it is heavy and rolling. Once the drumming kicks in, it reminds me of “Deuce”.

If you like your hard sleazy rock, then press play on this. It’s a must on playlists.

Ain’t On The Chain

I know Accept liked AC/DC and on this, The Poor channel Accept’s take on AC/DC with a nod to Udo. Then again, you could say that they are channelling the Bon Scott era of AC/DC. But that is for the vocals. Musically, it has a lot of LA Sunset Strip style of rhythm playing.

This song also appeared on the “Underfed” EP from 1993.

Downtown

You can never get enough of acts showing their love for AC/DC. Think “Sin City” here.

Hair Of The Dog

I like the heaviness.

About going into a bar the other night and getting into a fight.

Liar

She’s a liar, a little two faced bitch.

Enough said, just press play.

Ride

It’s a thrash-a-roll. 

Only The Night

“Hit the road jack, ain’t gonna come back no more” comes to mind in the intro and then it goes into “Hot For Teacher”.

If you want to hear the decadent love child of AC/DC and Van Halen then press play on this.

As a bit of trivia this song goes back to the debut 4 song EP, “Rude, Crude and Tattooed” from 1992.

After the release they toured the U.S supporting, Scorpions before hitting Europe and Japan.

When they believed that the touring cycle was done for the album, they got a call in early 1996 to open for AC/DC on their Ballbreaker international tour.

And they weren’t done. They also got the Kiss support slot and in 1998 they also got the Van Halen support slot.

And we finally got some new music from then, a single called “Simple Livin'”, which was to be the first single from the follow-up to “Who Cares”. There was no identity crisis here for The Poor. While other acts tried to fit into the post Grunge, neo-industrial environment, The Poor channelled their love of Thin Lizzy and AC/DC to create “Simple Livin’” and its B-side “Love Isn’t On Again”.

But the new album never came and they disbanded in 2000 into two separate heavy rock projects called “Lump” and “Blackseed”.

Only to reform in April 2008 to play on an Australia tour with W.A.S.P.

Then a new album called “Round 1” came out in 2009 and “Round 2” in 2010 by Australian label “Riot!”.

And finally The Poor are in full swing with the soon to be released fourth album (first in thirteen years), “High Price Deed” on 2 February 2023.

The pre-release singles “Payback’s a Bitch”, “Cry Out”, “Let Me Go” and “Take the World” have impressed so far.

The band at this stage is Daniel Cox on guitar who joined in 2019, Anthony “Skenie” Skene is still on vocals and rhythm guitar, Matt Whitby is still on bass guitar and Gavin Hansen on drums, having replaced James Young in 1997.

Play it loud. 

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