Classic Songs to Be Discovered, Copyright, Influenced, Music, My Stories

2001 – Part 5.3: Bon Jovi – One Wild Night Live 1985–2001

“One Wild Night Live 1985–2001” was released in May 2001.

It’s compiled from different shows. In Australia, we also got a Bonus disc of songs recorded live in Australia. The release I have is known as the “Australian Exclusive Collector’s Edition” and the bonus disc has five songs from a March 24, 2001 show in Melbourne.

Tico Torres behind the kit needs more respect. He is a beast, happy to keep the beat when he needs to and when they jam the songs out, he’s brilliant at improvising. Richie Sambora likes to solo and on this album there are some songs which have decent outro solos like “Keep The Faith”. It’s things like this that makes the live show unique.

Jon Bon Jovi vocally is on form and having a blast. The 1985 recordings of “Runaway” and “In And Out Of Love” from Tokyo, Japan are gold, showing a band hungry for success and using that fire to light up the stage.

And I forgot how good songs like “Just Older” and “Something To Believe In” are. There are seen as deep cuts now behind all the Top 10 hits.

It’s My Life

Written by Jon Bon Jovi, Richie Sambora and Max Martin, the Desmond Child like persona from 1998 to current. The song was recorded in Toronto, Ontario, Canada on November27, 2000.

Derivative or not, this song saved Jovi by renewing its audience. The 80’s fans remained and suddenly a whole new generation of kids joined them on the backs of this song.

Livin’ on a Prayer / You Give Love a Bad Name

It’s time in the set list to play some songs written by Jon Bon Jovi, Richie Sambora and Desmond Child. These two songs are from the Zurich, Switzerland show on August 30, 2000.

In 1998, Child sold his rights to these songs and other Jovi songs plus songs he wrote for other artists like Kiss and Alice Cooper to name a few. It was basically his whole catalogue up to 1997. He know wishes he hadn’t sold his rights as he has seen how much these songs make these days.

Keep the Faith

Another Jovi, Sambora and Child cut from New York City, United States on September 20, 2000.

Sambora is shredding his way through it and Tico Torres is thundering behind the kit, keeping up with the faster tempo.

Someday I’ll Be Saturday Night

The Jovi, Sambora, Child cuts keep coming. This recording is from Melbourne, Australia on November 10, 1995. The band is even more on fire here, with Jovi brilliant vocally. The increase in tempo makes the song a lot better as I wasn’t a huge fan of the studio cut.

Rockin’ in the Free World

A Neil Young cover from Johannesburg, South Africa on December 1, 1995. The tempo is increased and it sounds a lot better.

Something to Believe In

Written by Jovi and recorded from a show in Yokohama, Japan on May 19, 1996.

This one is a hidden deep cut in the Bon Jovi live set lists. I don’t think it gets played anymore but it’s a crowd favorite.

The beat from Tico sets the groove, while Sambora, Bryan and McDonald set the sombre tone.

Stick around until the Chorus kicks in to hear Jovi sing the melodies with Sambora doing the hey, hey, hey backing chants.

Wanted Dead or Alive

A Jovi and Sambora cut from a show in New York City, New York on September 20, 2000. As you would expect from this song, it has a little acoustic improvisation at the start before it kicks in.

Sambora on the lead is always perfect. His pinch harmonics, bends, palm muted notes and legato licks have a life of their own.

Runaway / In and Out of Love

From Tokyo, Japan on April 28, 1985.

“Runaway” is written by Jovi and George Karak, while “In And Out Of Love” is listed as written by Jovi. Alec John Such is on bass and backing vocals on these tracks. Remember him. The forgotten bass player, written out of Bon Jovi history.

The band is hungry and on fire on these songs. JBJ even brings out the falsetto for the “Runaway” outro.

The things a younger voice could do?

Before “In And Out Of Love” starts there is some guitar doodling and then the song starts, which is a bit different to how it normally starts and after a minute or so, the song we know begins. And I like the tempo increase. It’s only slight but man doesn’t it change the song from pop rock fare to hard rock fare.

I Don’t Like Mondays (featuring Bob Geldof)

A Bob Geldof cover recorded in Wembley, London, United Kingdom on June 25, 1995. I didn’t like the original version, so this did nothing for me.

Just Older

How good does this sound?

Written by Bon Jovi and Billy Falcon. It was recorded from the Toronto, Ontario, Canada on November 27, 2000. It’s another cut now known as a deep cut.

Something for the Pain

A Jovi, Sambora, Child cut recorded in Melbourne, Australia on November 10, 1995.

It sounded better on the CD then it did live. Some songs work live and some don’t. The “These Days” Australian tour took Bon Jovi out of the arenas and into the stadiums. The Sydney gig was at the Eastern Creek Raceway. It’s a crap venue for live music and terrible to get to via public transport. It was a horrible experience a few years before for Guns N Roses and Skid Row, so I skipped any band that played that venue after Gunners.

And thank god that no act plays at that venue anymore.

Bad Medicine

The band should have changed their name to Jovi, Sambora and Child. As most of the big cuts are written by the these three dudes. This is from the Zurich, Switzerland on August 30, 2000. It’s basically an undercover 12 bar blues rocker.

One Wild Night (2001)

And the CD finishes with a new studio cut of “One Wild Night”. The cut is also written by Jovi, Sambora and Child . It’s faster and more party like. You can tell that by playing it live, they enjoyed the increased tempo, so why not capture that power and passion in the studio.

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The Record Vault: Dream Theater – The Silent Man (CD Single)

Do you know how hard it is to find a Dream Theater single in Australia?

And as soon as I found one, I purchased it straight away. But I haven’t found any singles since and in the 2000’s I just stopped looking for em in the record shops.

“The Silent Man” is the third EP released by Dream Theater in 1994.

The personnel for the band was Mike Portnoy – Drums, John Petrucci – Guitar, John Myung – Bass, Kevin Moore – Keyboard and James LaBrie – Vocals.

John Purdell and Duane Baron are producing the songs “Eve” and “The Silent Man”.

Eve

I actually purchased the single for the song “Eve”. At the time it was an unreleased bonus track.

It’s an instrumental, but it’s not the kind of instrumental you think with a thousand notes per minute. There is emotion and feel. Kevin Moore on the piano lays down most of the music which belongs to a soundtrack in a film.

His keys and piano riffs dominate the song and then there is Petrucci, who knows which notes to wrestle out of his fingers with his melodic leads. Especially that lead from 4.02. Press play on it.

Close you eyes and let the music take you to a peaceful time. It’s soothing, I could use it to meditate to.

Take the Time (demo)

This demo along with a few other songs, are part of “the” demo tape that got them their ATCO deal for the “Images And Words” album.

The Silent Man

It’s an acoustic song, and man can Petrucci write a complicated acoustic song with unique chord voices.

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Australian Method Series: Cold Chisel – Cold Chisel

1976 saw AC/DC’s first internationally-released album, “High Voltage”. The demand for Oz Rock was already on the up.

Enter Cold Chisel.

After years of hitting every place and pub in Australia and drinking those places dry with their road crew, or getting banned due to fighting, Cold Chisel finally got a record deal and released their first album on WEA/Elektra in 1978.

But.

If you ever caught the band live, the self-titled debut sounded nothing like the band did on stage.

They also had a producer that kept telling em that live is live and the studio is the studio. They cannot intersect. Well tell that to Bob Rock who made it his mission to capture how good a band sounded live, in the studio.

Before the album was even released “Khe San” was already a crowd favourite however it was a lot faster live than the studio version. But there is something special about the slowed down studio version as well.

Juliet

It’s a rocker, more STYX like with a little bit of “Evie” from Stevie Wright and “Mississippi Queen” from Mountain.

Khe Sanh

“Khe Sanh” was released as a 45 rpm single in May 1978. It captures, the despair and the anger of an Australian Vietnam war veteran. There were no parades for these guys. They came back home, hated. And the promises made by the Government to look after them never came to be.

It was banned from commercial radio as the lyrics had references of sex and drugs. Lines like these were scandalous. “And their legs were often open/But their minds were always closed”.

But a great song is never born from marketing. It’s from word of mouth.

And the Battle of Khe Sanh was fought mainly by US Marines but this didn’t matter.

The piano riff is rocking and the best part of the song is when Jimmy Barnes sings, “the last plane out of Sydney is almost gone”.

And maybe all of us were a bit damaged as well so the song resonated with a lot of people who had addictions and couldn’t make meaningful contact with woman, and the need for casual sex with East Asian women.

Home And Broken Hearted

The verse riff reminds me of AC/DC, who were influenced by Chuck Berry.

One Long Day

The bass rumbles while the piano plays a jazzy riff that reminds me of “Long Way To The Top”. And it takes a left turn when it changes to lounge rock.

Northbound

Blues rock at its best

Rosaline

It could be a STYX or Bee Gees cut. It’s almost progressive the way Don Walker plays the piano.

Daskarzine

Its fast and aggressive.

Almost Rose Tattoo like and when “they speak her name in cheap hotels/From Turkey to Marseille” we get an understanding as to who Daskarzine is.

Just How Many Times

Its lounge jazz blues rock, slow and relaxed. The lyrical message is more important than the rest. Barnesy is a crooner on this, an R&B style of crooner.

They never got the big break in North America that they wanted, but it’s pretty hard to sell your act when your lyrics paint a picture of Australia.

And we loved em for it.

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Al Pitrelli – 1993 to 1996

And we continue with Al Pitrelli’s story.

By 1993, a lot of artists who got their break in the 80’s had nothing doing. Even his band Danger Danger was struggling. Their album “Screw It”, released in 1991 got zero skulls out of 5 in the reviews I came across. The reviewers had enough of song titles like “Slipped Her The Big One” and “Horny S.O.B”.

The million bucks spent on the album would never be recouped, the band got dropped and it took another four years for Danger Danger to resurface with “Dawn” in 1995 on an unknown label.

But before they got dropped by Epic, there was an attempted album called “Cockroach” scheduled for 1993, however vocalist Ted Poley sought legal action to prevent it from being released as Bruno Ravel fired Poley after the album was completed and then got Paul Laine to re-sing it.

Due to the court case, Epic shelved the album but money talks and in 2001, it was finally released with Disc 1 being the Paul Laine version and Disc 2 being the Ted Poley version.

But while old friends had their various issues, Al Pitrelli was steaming ahead.

He was doing studio work with artists like Taylor Dayne. At this point of her career, Dayne was on fire, and a lot of money was thrown her way by the label for her third album. A lot of great songwriters were commissioned to work with Dayne and they bring their own players. Pitrelli on this case, played guitar on two tracks “Dance With A Stranger” and “I Could Be Good For You” on Dayne’s “Soul Dancing” album released in 1993. And like his previous studio work, Pitrelli was asked to perform again on a cut written by Diane Warren (“I Could Be Good For You”). I guess he had the soft rock mojo Warren was looking for.

His “Coven Pitrelli O’Reilly” project released “CPR” in 1993.

His “Morning Wood” project finally saw a self-titled release in 1994 (in Japan only and it wasn’t until 2002 that it saw a European release), along with Asia (“Aria”), Widowmaker (“Stand By For Pain”), the self-titled “Ten Ton Tide” album and “Out Of Control” by TM Stevens.

The “Morning Wood” band was Pitrelli’s old pal, Chuck Bonafante on drums, Al Pitrelli on guitars, Tony Harnell from TNT on vocals and Danny Miranda on bass and keyboards. The album was all acoustic, mainly covers with a few originals.

The “Stand By For Pain” by Widowmaker is an album to be spoken of highly in relation to Hard Rock/Groove Metal. But like the heavy rock Widowmaker debut, it is largely ignored or forgotten. Dee Snider couldn’t catch a break post Twisted Sister, however he has shown his resilience, slowly rising back up year by year, first by a radio show, then as a screenwriter/director and when Twisted Sister reformed in the piracy decades, they were surprised to see that their music was more popular than ever.

Pitrelli also helped an old mate in Derek Sherinian get the keyboard job with Dream Theater after the departure of Kevin Moore. Al Pitrelli and John Petrucci used to teach guitar at a Long Island Guitar store, and Pitrelli put a call in to Petrucci to hire Sherinian who Gene Simmons described as the love child of Paul Stanley and Cher.

Pitrelli was also back in Asia for another album called “Aria” released in 1994. This period is known as the John Payne period. Al Pitrelli played on the previous album “Aqua” but didn’t tour. He played on “Aria” and went on tour this time, however after 4 concerts the tour was cancelled. Pitrelli left the tour early (how early can you leave a 4 show tour) and was replaced by ex-Simply Red guitarist Aziz Ibrahim for the other few shows. The album was also a complete commercial failure.

Another project called Ten Ton Tide released their self-titled debut. The band is listed as “Hard Rock” and “Prog Rock”. If you like Rush, then this band definitely fits the bill. This YouTube video is the only thing I could find on the project but it’s not the album that Pitrelli played on.

The band for the debut album is Jim Toscano on drums, Anthony Tirado is on Bass and Rhythm Guitar, Rob Glick is also on Bass and Guitar, Dan Gibson is on keyboards, Al Pitrelli and Zak Rizvi are on Lead and Rhythm Guitars and Dennes Cynd is on Vocals and Violin. One review mentioned the singer as a cross between Mick Jagger and Kip Winger. But I don’t hear that.

1994 or 1995 also saw a release from “TM Stevens – Out Of Control” called “Boom”, a fusion of hard rock, funk, rhythm and blues and metal.

For those who don’t know, TM Stevens is an American bass guitarist from New York City. He was a go to session guy and if you purchased a Billy Squier album, there is a chance you heard TM playing bass on it. The same goes for Pretenders, James Brown, Joe Cocker, Taylor Dayne, Cyndi Lauper, Tina Turner, Riot, Billy Joel and Steve Vai. And it was James Brown who got TM to sing. You know the track, “Living In America”. One of the voices on it is TM.

Apart from Al Pitrelli playing on the first album “Boom”, Richie Kotzen and Al Pitrelli both play on “Sticky Wicked” released in 1996.

In relation to “Boom”, check out the songs, “Supernatural”, “I’m A Believer” (a totally different song to the one you are probably thinking off), “The Gift”, “Hair”, “What About Love” and “Freedom (Never Gonna Give It Up)”.

Savatage were about to be dropped by Atlantic. They had given the band advances for each album and to the label, they never recouped that advance. Pitrelli was the studio player Paul O’Neill brought in to play lead guitar on their last album, “Dead Winter Dead”, released in 1995.

He went on a European tour with them as a hired gun and was to have no more involvement with the band after that.

But.

Something happened.

The song “Christmas Eve (Sarajevo 12/24) was a hard rock mash up of “God Rest Ye Merry Gentlemen” and “Carol Of The Bells”. The guitar leads you hear on the track that a violin normally plays are from the fingers of Al Pitrelli. And when Savatage returned to the U.S, this song had crossed over into the Charts and became a holiday favourite.

When there is a hit, expect a new album to come out. Savatage went back into the studio with Paul O’Neill producing again, but this time around, Pitrelli was a fully-fledged member, playing all the guitars and he was known as the “musical director” of the band. But Savatage was seen as a heavy metal band, and some due diligence by the label suggested that they should change the name of the band for this Christmas themed album.

And “Trans-Siberian Orchestra” was born. Otherwise known as “TSO”.

Also in 1995, a few other projects that Pitrelli was involved in got a release. The band “Place Called Rage” released their self-titled debut. Joe Lynn Turner released “Nothing’s Changed” and “Mojo Bros.” released their self-titled debut.

The “Place Called Rage” band had a few friends from the 80’s, like Chuck Bonafante on drums, Danny Miranda on bass and Tommy Farese on vocals. Released in 1995, it’s a great slab of hard rock rooted in the 70’s Rock movement with a lot of Springsteen style “Americana Rock” thrown in.

The Joe Lynn Turner album “Nothing’s Changed” is also rooted in 70’s Rock. Almost Bad Company like. Pitrelli co-wrote 4 tracks with JLT and also Co-Produced the album with JLT. Other musicians to play on it are Greg Smith on bass, John O’Reilly on drums, with keys being provided by Gary Corbet, Derek Sherinian and Al Pitrelli. This is another great slab of hard melodic rock, lost in the noise of 1995.

The Mojo Bros. self-titled debut is hard to find. A few YouTube clips exist and that’s it. Joe Lynn Turner and TM Stevens even appear on their Temptation’s cover “Ball Of Confusion”. The music is mostly instrumental except when they get in a guest singer for a cover song. The band is Danny Miranda on bass, Joe Franco on drums, Al Pitrelli on guitars and Derek Sherinian on keyboards. These three albums released in 1995 are not on Spotify.

1996 brings us to Vertex.

The “A/2” album from Arcade disappeared from stores as soon as it was released. The music that Stephen Pearcy made a living off was out of style. So Vertex was born when Pearcy was asked to be part of an industrial band by Japanese drummer Hiro Kuretani. Al Pitrelli joined on guitar and Juan Croucier from Ratt was meant to be the bassist, however that spot went to Robbie Crane from Vince Neil’s solo band for the tour. Al Pitrelli plays the bass parts on the album except for two songs (“Time And Time” and “Aint Gonna Be”) in which Bob Daisley plays the bass. Fate would have it that Crane would became the Ratt bassist as well afterwards. In a dropping the names moment, the guitarist in Arcade Johnny Angel had a connection with Al Pitrelli from their brief Talas days.

Vertex was way ahead of their time. Musically, Vertex sounded like a cross between Rammstein (before anyone knew of Rammstein globally), the hard rock genre and Megadeth. Pearcy even sounds like Dave Mustaine in the vocal department. I believe critics just saw it as a glam rocker faking his way through the 90’s pretending to be industrial. But Pearcy is really good on this and the album is forgotten. “Industrial RATT” is a term that I came across a fair bit in the YouTube comments section. The bands Orgy, Coal Chamber, Snot, Static X, Powerman 500, Stabbing Westward and early Filter all sounded very similar to what Vertex was doing.

Another release that happened in 1996, was from the “Trans-Siberian Orchestra” (TSO) who dropped the “Christmas Eve and Other Stories” album around the Holiday season and man, it sold. 3 plus million is sales in the U.S for a triple platinum certification. A tour was organised in the U.S and it sold like crazy as well. The fusion of hard rock, progressive rock, classical and Christmas themed music with a bit of blues rock and jazz found itself an audience. A large one at that. And for the audience it was all about the experience.

After a long time as a journey man, a session guru and as a band member/leader trying to get a project up and running, Pitrelli had a project that would provide him with stability and success.

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The Record Vault: Dream Theater – Awake

Produced and Engineered by Duane Baron and John Purdell who were still riding the wave of success from the “No More Tears” album by Ozzy Osbourne. Dave Prater who produced “Images And Words” was not considered due to the difficult working relationship between the band and producer.

“Awake” is the third studio album but the first album for the band, written knowing that there was an audience for their music. Artists would like us to believe that they write music to please themselves but they are lying. Once an artist experiences public acceptance of their music, their minds want to experience more of it. That in itself leads to a different kind of pressure. And the guys in the band were still young, so they didn’t know how to deal with this pressure and the pressure from the label.

Released on October 4, 1994, the album came out at the peak of the Seattle movement. The heaviness was evident and the label wanted it, but the label also wanted a song like “Pull Me Under” even more, a combination of that Iron Maiden meets Metallica sound. But that song never came.

But with this album, Dream Theater unknowingly went from a progressive rock band with roots in hard rock, to a progressive rock band, with roots in groove metal, paving the way for a fertile new genre known as progressive metal. But the critics were mixed on it and even the fans were split. But the years that have passed have been kind to the album, and now it is seen very differently.

The writing sessions began in February, after a small 4 week break after the “Images And Words” tour. Each song had weird working titles like “Kittens On Crack”, “Blowfish”, “Beach House Reality” and “Squid”. A lot of music was written and when this happens, a band leader would need to decide as to what is kept and what is discarded. Dream Theater had no band leader. So the creative disagreements started.

Once the demos were completed, the tracks were given to their A&R Rep, Derek Oliver to listen to. While the songs were good, Oliver didn’t see a marketability to them, however he still gave the go ahead to record the album, as his boss Sylvia Rhone wanted the album done so she could show orders for the album.

It’s also the last album to feature original keyboardist Kevin Moore, who announced his decision to leave the band during the mixing process of the album.

Larry Freemantle, who had designed the cover of “Images and Words”, provided the artwork for “Awake”. As with “Images and Words”, the band instructed Freemantle to include several lyrical references in the cover, such as a clock showing the time 6:00, a mirror and a spider in the middle of a web.

“It’s 6 o clock on a Christmas morning”.

I’m not sure what I expected from Dream Theater for the follow up to “Images And Words”. But voiceovers saying it’s six o’clock on a Christmas morning was probably not it.

6.00

A Mike Portnoy drum groove kicks it off, rooted more in freeform jazz fusion.

And there is a Rush like groove that reminds me of “Natural Science”.

The lyrics are written by Kevin Moore about routine, duty and commitments in a person’s life, like cutting wood to keep a family warm and working to put food on the table. It’s so far removed from Rat Tailed Jimmy in “Dr Feelgood” or Metallica’s evil Sandman.

Caught In A Web

The 7 string guitar with the Low B string is in action here.

Truth be told, I saw the 7 string as a fad. I never saw a reason why a guitarist would need one. If you wanted a low B, increase the gauge on your strings and tune the E string down to B.

While someone like Iommi tuned down to C# out of necessity to make the strings easier to bend due to cutting off the tips of his fingers in a work accident, I still didn’t get why artists needed to go lower.

Because it sounds muddled when you play fast riffs, but press play to hear the killer lead.

Would you expect anything else from Petrucci?

Innocence Faded

Petrucci wrote the lyrics of “Innocence Faded” with Wikipedia telling me “it was inspired by his deteriorating friendship with Moore”.

When Dream Theater do major melodic rock, they do it well.

Press play to hear the outro.

Petrucci comes in with an outro riff with triads over an E pedal point. And if that wasn’t good enough, he starts to solo over it in a Steve Morse and Paul Gilbert manner.

Next up we have the “A Mind Beside Itself” Trilogy featuring the three separate songs, “Erotomania”, “Voices”, and “The Silent Man”.

Erotomania

An instrumental.

A large section of this song was written for the song “Pull Me Under” however it was removed from the song before they went into the studio to record it. And those sections which were removed ended up in this song.

Voices

The intro. Press play to hear it.

Silent Man

An acoustic song during the unplugged craze. It deserved more attention.

The Mirror

Its heavy courtesy of the 7 string and its ready to challenge all the groove metallers. Here the 7 string works because the riffs are slower.

There is a section in this song, when they play the main piano riff from “Space Dye Vest”. Brilliant.

Portnoy wrote the lyrics to “The Mirror”, describing his battle with alcoholism. He would return to the subject on later Dream Theater albums with the group’s so-called “Twelve-step Suite.”

Lie

It was the leadoff single. Not sure if this should have been the song as lyrically its poor. “The Mirror” was a better choice.

But the lead is killer.

And it ends the same way “The Mirror” started as the two songs are connected. But this time around the heavy groove sets the foundation for Petrucci to solo over.

Lifting Shadows Of A Dream

It began as a poem and two chords brought to the band by Myung. They worked on it, hated it and the next day they liked it.

This is DT being like U2 and Marillion. Myung sets the foundation with his bass riff and Petrucci brings out his Marillion and The Edge influences with digital delay melodic riffs, while Kevin Moore lays a keyboard riff which is sad but hopeful.

Scarred

The blues jazz fusion intro hooks me. For an 11 minute song there are so m at good sections.

Like the Metal verses and the solo and the outro.

Space Dye Vest

Kevin Moore is listed as the sole writer here, much to the protest of Mike Portnoy who in hindsight wanted to leave this track of it.

But it was one of my favorites because it had a soundtrack like quality to it. I could feel the sadness in the music. And James LaBrie is like Peter Gabriel in his vocal delivery.

It’s a style that I liked from em.

To tour they had to find a keyboard player.

Jens Johansson from Yngwie Malmsteen’s solo band was the first to be approached. While the label and management were keen on Johansson, the band wasn’t.

Jordan Rudess was the second and the band were blown away by him at the audition. Jordan agreed to play a small gig with them (which went terribly) and then rejected the offer to join them at that point in time. He had a gig with the Dixie Dregs, a full time job with Kurzweil and a very young family. He chose to be around his family during this period.

Enter the love child of Paul Stanley and Cher (as described by Gene Simmons), the one known as Derek Sherinian. By this point of time, Sherinian had worked with Lita Ford, Alice Cooper and Kiss.

John Petrucci and Al Pitrellil are both from Long Island and they used to teach at the same guitar store. Pitrelli put a call to Petrucci and basically said to him, “you got to hire this keyboard player”. And Sherinian was hired on a temporary basis to begin with.

In relation to the album, the label considered the album a commercial failure, which would lead to the band being pressured to write more radio-friendly songs on their next studio album. For Dream Theater, the label situation was never easy. Their Atco seven album deal was moved to East West Records, a division of Atlantic Records and then to Elektra.

This would lead to more problems. But that’s for another post.

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The Record Vault: Dream Theater – Live At The Marquee

The whole “Images and Words” album was a surprise success as it was released in a market that was very anti-technical. But “Pull Me Under” was not technical at all. It was actually pretty simple, with riffs that could have come from a Metallica or Maiden album.

So when an act is successful, the label is keen to capitalise on more sales. The best way to do that between studio albums is to release a live album.

Enter “Live At The Marquee”, released in 1993, on the back of the failure of the “Another Day” single. The music video for “Another Day” was totally ignored by MTV and never played on the music network.

There would also be a live video release of this period called “Live In Tokyo” from this tour. But that release would be covered a bit later.

In case people are not aware, The Marquee Club is a small venue in London. It’s a rite of passage for a lot of artists to play at The Marquee.

The band is the same as the “Images and Words” album with James LaBrie – vocals, Kevin Moore – keyboards, John Myung – bass, John Petrucci – guitars and Mike Portnoy – drums.

In relation to how live it is. All the music is live as captured on the night and most of James LaBrie’s vocals were actually re-recorded in a studio. In the book “Lifting Shadows”, Portnoy jokingly said the album should have been called “Dream Theater Live At The Marquee But With James LaBrie Live At Bear Tracks”.

The actual set list as found on Mike Portnoy’s concert database is as follows;

  • Metropolis Part I (released on “Live At The Marquee”)
  • A Fortune in Lies (released on “Live At The Marquee”)
  • Under a Glass Moon (not released)
  • Surrounded (released on “Live At The Marquee”)
  • Ytsejam (w/ Drum Solo) (not released)
  • Bombay Vindaloo (released on “Live At The Marquee”)
  • Another Day (only released in Japan, replacing “Surrounded”)
  • Another Hand (released on “Live At The Marquee”)
  • The Killing Hand (released on “Live At The Marquee”)
  • Pull Me Under (released on “Live At The Marquee”)
  • Take the Time (not released)
  • Wait for Sleep (not released)
  • Learning to Live (not released)

Metropolis—Part I: “The Miracle and the Sleeper”

The show opened with this and the CD release also did. The abilities of Petrucci, Portnoy, Myung and Moore are evident here.

The comments I read on a YouTube video of this song all mention the vocal performance of James LaBrie on this track. And it is a great vocal performance, regardless if it was recut in a studio.

A Fortune in Lies

I heard James LaBrie singing the debut album songs before I heard Charlie Dominici. Sort of like how I heard Bruce Dickinson sing the Paul DiAnno songs first.

The production sound of this song is a lot better live than what was captured in the studio. Especially the machine gun snare section before the solo break and then Petrucci nails his lead which has fast tapping, sweep picking, alternate picked lines and legato playing.

Bombay Vindaloo

Named after a vicious curry that played havoc with the band. It’s an improvised instrumental performed live only six times and never recorded in a studio. They really set the mood of India here with the use of exotic scales to highlight the themes of the song.

I’ve read reviews that mention “La Villa Strangiato” as an influence.

Petrucci again shines with his emotive leads as he builds and builds on em, very Al DiMeola like. It’s rare tracks like these, that make these kind of EP’s special.

Surrounded

The best part of this song is Petrucci’s digital delay lead, however the effect wasn’t as prominent live as it was on the studio cut. And for some reason it sounded very Van Halen’ish this time around.

If you are a fan of Marillion, then you will like this.

Another Hand / The Killing Hand

The newly written major key intro titled “Another Hand” that bridges “Another Day” with “The Killing Hand” is beautiful. Press play just for that.

And LaBrie delivers a great vocal on this. And yes, I don’t care if it was recut in the studio.

Pull Me Under

Could there be a Dream Theater set list without “Pull Me Under”?

Of course not. It’s their title winning MVP.

I have seen Dream Theater perform live on a few occasions in Sydney and they are excellent.

This release captures all of that.

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A to Z of Making It, Copyright, Derivative Works, Music, My Stories, Piracy

The Week In Destroyer Of Harmony History – May 2 to May 8

2018 (4 Years Ago)

MUSICAL CONVERSATIONS BETWEEN DAVID COVERDALE AND JOHN SYKES

Sykes first official band was an outfit called “Streetfighter”. They played mainly cover songs and an original song called “She’s No Angel” appeared on a compilation album called “New Electric Warrior”. There was also an EP released which can be found on YouTube with Sykes playing guitar and doing vocals.

In 1980, Sykes saw an ad for a lead guitar position. He auditioned and ended up joining Tygers Of Pan Tang for two albums, “Spellbound” and “Crazy Nights”. Although good albums, they didn’t sell like the record label wanted them to sell.

Meanwhile, Sykes was getting some recognition and was even asked to audition for Ozzy Osbourne’s band.

In the book “Thin Lizzy” by Alan Byrne, its mentioned how Sykes was brought into Thin Lizzy on the suggestion of producer Chris Tsangarides who had worked with Sykes in Tygers Of Pan Tang, and also secured a deal for Sykes with MCA to release a song that Sykes had written.

“Thunder and Lightning” started to re-establish Thin Lizzy in the 80’s as they album had a metal heavy rock edge. At the same time, David Coverdale tried to hire Adrian Vandenberg and Mama’s Boys Pat McManus on guitar however they both rejected the offer. John Sykes was then offered a million dollars advance payment to join Whitesnake.

Mel Galley eventually left the band during the tour and Sykes went on to handle the guitar parts himself. Jon Lord also left to reunite with Deep Purple, thus making Whitesnake a four-piece of Coverdale, Sykes, Murray and Powell.

Money plays a part in every band and Whitesnake was no different. Cozy Powell didn’t like what he was offered to continue with the band and left. Aynsley Dunbar got his chance and ended up being the drummer for Whitesnake’s most successful album.

The 1987 Whitesnake sessions had delays, illnesses and personality issues. Murray didn’t know if he was in the band or out of the band, however he kept on turning up to the studio and completing his bass parts. Coverdale told them all to explore other projects if they got a chance as the money from Geffen was running out and Coverdale couldn’t keep them on the payroll.

The 87 album was rumoured to have cost $3M dollars to write and record. This financial pressure destroyed the song writing partnership known as Coverdale/Sykes. It could have been one of the best song writing partnerships in hard rock music for many years after, but we’ll never know. David Coverdale called the writing process a “musical conversation” between Sykes and himself. And we got to hear the results of the musical conversation.

FREE WILL

Remember in “The Social Network”, the final scene, Zuckerberg is alone in his house, surrounded by darkness except from the light coming from his computer and he is still sending friend requests to his ex-girlfriend who told him she doesn’t want to see him or hear from him again because he is a sociopath. It sure seems a very social way to communicate with someone.

But he was a misfit in his circle and a lot of people identify with misfits. It’s a big reason why rock music became a commercial force. Today, those metal and rock T-shirts are available everywhere as designer clothing, but once upon a time, they were patches earned from a lifestyle lived. Because it was all about the music. Divided we lived, but united we stood.

Then we grew up, started to earn money, started to borrow money and suddenly we became part of the rat race. And no one forced us to enter the rat race. We tried to climb a greasy pole, believing if we worked hard enough, we would get to the top.

We might live in a country that is a democracy, however as long as you are living to please others and to build other people’s dreams then you are not free. Without realising it, your whole life is tied to a job.

Everyone has a story and the less you have in possessions and dollars, the more you have struggled, the better the story is. So the story of this generation should be about standing up against injustice. When pushed to the wall, how do you react?

Life is a process, with ups and downs. We fall in and out of love. We make money, lose money. We have children, watch them grow up and then we are alone. And somehow through it all we survive almost anything thrown at us and come out of it for the better. As long as we made a choice.

You can choose a ready guide
In some celestial voice.
If you choose not to decide
You still have made a choice
You can choose from phantom fears
And kindness that can kill;
I will choose a path that’s clear-
I will choose free will

Free Will by Rush

So many people have grown up in countries where free speech is respected. But today, people are scared to speak freely, scared to be attacked by the bots, the trolls, the politically correct hipsters, the angry left, the angry right and whatever else the internet social media predators can throw at you.

Maybe it’s time to say we’re not gonna take it anymore.

THE LABELS

There was a saying that if you followed enough of the rules, you would get a recording contact, millions of dollars and the red carpet. Perhaps one in a 1,000,000 acts pull this off. Actually you have a higher probability of being hit by a comet than making a lot of money in music.

So, the record labels wanted to maintain the sales model but they got dragged kicking and screaming to downloads. Credit Apple for pushing it and credit Warner Music for being the first major to sign. Suddenly their revenues went up. But they still complained. They screamed to their friends in politics for laws to be passed. Then streaming came out and they got dragged kicking and screaming to streaming. They even got a percentage of the streaming company and surprise, surprise, the revenues went up again.

Times are changing. Nothing will look the same in relation to labels and streaming companies in the next ten years.

As for the labels, they are not going away. Morphing more into marketing companies, who could help with your world domination ideals, but do you need them.

But for over a century the record label has built up a history of owning songs it shouldn’t be owning. It’s ridiculous. An artist signs a deal, pays off all the costs associated with the album and somehow, the label still owns the copyright. The battle for artists to regain their rights is happening.

According to Nielsen Music, almost 70% of the monies received by the labels is because of older catalogue items. So giving back the artist their copyrights as dictated by law is bad business for the labels. As the article states, around 20 artists have reclaimed their rights from the thousands who are entitled to.

And the labels pull out all the tricks, like telling the artist they will pay them a higher royalty rate (which is useless if the label does nothing to re-promote the tunes) or paying the artist a large advance to hold on to profitable masters.

Then came hedge funds and investment houses, purchasing older catalogues for a lot of money.

2014 (8 Years Ago)

CRISS OLIVA

It seems that the ones who passed away before the internet age are more or less forgotten by the masses unless they were part of a superstar act or where the superstar act themselves.

Criss Oliva who tragically passed away on October 17, 1993 when a drunk driver crossed the road and hit Criss Oliva and his wife head on in a motor vehicle accident.

The “Gutter Ballet” LP was my first introduction to Savatage. Without knowing how the band sounded, the excellent album cover by Gary Smith was the decisive factor.

This album was a true turning point for the band.

It didn’t sell in the millions, but a classic album it is none the less. As a by-product it also became a leader for a new genre that incorporated power metal with orchestral/symphonic flourishes.

“Of Rage And War” kicks off proceedings with helicopters and other sounds from the various war machines. The whole intro reminds me of Megadeth. The song is about transforming powerlessness into anger.

“Gutter Ballet” is the epic six-minute anthem. It starts off with that melancholic piano intro in the key of D minor and then when the guitars come in along with the head stomping drums, the song transitions into a unique groove of “hard rock” clashing with “classical” and “classical” clashing with “symphonic” elements. It leaves an everlasting memory.

In the end it is the guitar the drives the song along. Check out the whole section before the lead break, then the lead break itself and then the syncopated parts coming out of the lead break. It’s perfect and the legato phrasing is liquid like melodic.

The title “Gutter Ballet” actually came from a play that producer Paul O’Neill had written in the early seventies, which of course went on to become the basis for the “Streets” concept album that followed “Gutter Ballet”.

“Temptation Revelation” follows and it is an instrumental. At one stage it was the original title for the LP. The guitar work from Criss Oliva again makes it. It has this Euro-Vibe style of guitar playing.

“When The Crowds Are Gone” is one of the best ballads, ever. Jon’s melancholic voice carries the song as it is filled with genuine emotion.

“Silk And Steel” is another instrumental and it reminds me of “Air” from Jason Becker. Another guitarist that in this case was tragically struck down with a terminal illness. “Silk And Steel” is a highlight as it features Criss Oliva’s at his “Segovia” best. A virtuosic, lively and carefree performance.

Side one ended and I needed to replay it before I moved onto side two. That is how music should be. Replayable over and over again.

“She’s In Love” kicks off side 2. The only song with weak lyrics, however it is important to note its place in the Savatage canon and an ode to the Accept style of Hard Rock/Metal that Savatage also dabbled in.

“Hounds” was an inspiration to me as a guitarist. I used the songs structure as a template for songs that I would write back then. I loved it’s epic feel and under it all there is this doomy technical atmosphere.

“The Unholy” could be from any classic metal album. The whole intro at first reminds me of “Lucretia” from Megadeth.

“Mentally Yours” sounds like an Alice Cooper song. Even the lyrical themes are very shock-rock Cooperish.

“Summer’s Rain” is another great ballad.

Criss Oliva is one of the most emotive and eclectic metal guitarists. The album is littered with so many different guitar techniques.

All in all, if metal is your taste then you need to hear this album. If you are a genre hopping musical fan, then this album is a must for the metal genre.

IS THERE SUCH A THING AS BAND HARMONY?

Who remembers watching interviews or reading interviews from their favourite bands about how much the band members loved each other, how they are brothers and so forth.

The cold hard truth is this. Bands/artists want to show a solidarity, a unity. They don’t want people and fans of the band to see weaknesses, so they try their best to make it look like everything appears fine on the surface.

However underneath it is a different story.

Every biography I have read, from “The Dirt” about Motley Crue, to “Enter Night” about Metallica, to “Lifting Shadows” about Dream Theater, to “Face The Music” about Kiss or to Dave Mustaine’s bio about his career. The same theme is prevalent throughout. The band members didn’t like each other.

No one really speaks their mind as it would cause problems in the band. And when dollars are at stake, management is doing their best to suppress what people think.

Song writing is the main reason. When you see artists leaving an act due to musical differences, its because they wanted to have their songs included on an album, however the other members kept on rejecting the songs or changing the song loses it’s soul.

Look at a few bands that are doing the circuit today and they have their own issues with members.

Volbeat – holding on to lead guitarists is problematic.

Five Finger Death Punch – holding on to bass players and lead guitar players is problematic. And recently they changed drummers.

In This Moment – holding on to bass players, guitar players and drummers is proving problematic.

Shinedown – holding on to bass players and lead guitar players is problematic.

Dream Theater – vocalist change after one album, three different keyboardists and a drummer change.

Trivium – changing drummers on a regular basis, however over the last few years it looks they have settled on that issue.

Evergrey – only Tom Englund is the original member.

Machine Head – only Robb Flynn is the original member.

WE ARE ARE ALL COPYISTS

The way we improve as humans is by finding a better way of doing things. In other words we copy what we see and we improve upon it. We do that from the day we are born.

The whole English rock movement in the sixties was born from copying the blues and folk movements and improving on them.

Keith Richards even went on to say that you can’t copyright the blues as all of the blues standards were copied over and over again so that thousands of derivative works existed.

Deep Purple built a career on taking certain sections from jazz standards that Jon Lord knew and turning them into rock songs.

Led Zeppelin built a career on taking certain sections from obscure folk songs, unsigned aritsts they toured with, blues standards and blending them into definitive masterpieces.

Black Sabbath had their roots in blues, classical and jazz. They borrowed from those genres. Listen to Bill Ward’s drumming on the early records. It’s almost got a swing, jazz feel to it.

Metallica initially built a career on taking certain sections from obscure New Wave Of British Metal acts and turning them into thrash metal masterpieces. For the self-titled BLACK album, the lead off track “Enter Sandman” has an intro that is copied and improved on from a local Californian band.

It is human nature that we are always looking at ways to improve. And copying something that came before, and then adding incremental improvements to it is how we do it.

One thing I do know is that copying is a key ingredient in the process of creating new works and it is a shame that the corporations that owe the majority of the copyrights are destroying this culture so that they can protect their bottom lines.

LIFERS

Look at any artist or band you like and you will notice one important element. They are lifers in the music business.

Dee Snider went through a long and drawn-out bankruptcy after Twisted Sister imploded. This is his big low from the platinum highs of “Stay Hungry” three years earlier. After bankruptcy he was free to make a new record and re-negotiate publishing deals.

The next high came when he signed a high pay deal with Elektra Records for the project that would become “Desperado”.

The next low started when Dee got that call that Elektra Records had dropped “Desperado” and shelved the album. That kicked off a process of more lows. Elektra didn’t just drop Desperado, they also prevented Dee from recording for any other label. Basically a record label that claims they are here to protect artists was destroying the career and personal finances of an artist.

Dee Snider just kept on going, trying to get the rights to his songs returned to him. He kept on going trying to get the right to license the Desperado record to another label for a fair price. In the end, the only thing that Elektra Records would accept was full reimbursement of the money they’d laid out for the deal—$500,000 or $50,000 per song.

But, but, the record labels are here to protect their artists.

The truth is, the record labels are there to make money from the lifers in the music business. It’s that simple.

THE MISFITS

It is those outliers, those misfits that end up changing the world.

Metallica got traction when they first came out because they didn’t fit in. And then when the “thrash scene” started to become saturated, Metallica delivered an album that didn’t fit into that scene and sold 25+ million in the U.S alone. Suddenly, elitists of that movement labelled them as sell outs.

Same goes for Motley Crue. Love em or hate em, when all the labels were looking for Devo style post rock acts in the early Eighties, along comes Motley Crue. Merging punk attitude with classic rock they paved the way for another band with a bigger appetite for destruction.

Guns N Roses came in an era when every label wanted a band like Bon Jovi. They came in an era when every label wanted their current roster of bands to deliver an album like “Slippery When Wet”. How anti-Bon Jovi was the classic Guns N Roses line-up? And guess what, they sold millions upon millions of albums. And they did it by not fitting in.

Dream Theater got traction in the era of Grunge. Even the analysts are still scratching their heads at that one. How could a progressive rock band break through when the record labels along with the media perpetuated the myth that knowing how to play your instrument was uncool.

The thing is most of the artists that we like never really fit into any circle/genre when they came out.

FOXY SHAZAM

Foxy Shazam and “Welcome To The Church Of Rock And Roll”.

Who’s that guy singing?

That was my first impression. I was hearing Geddy Lee from Rush. I was hearing Freddie Mercury from Queen. I was hearing Robert Plant from Led Zeppelin.

“Your music sucks including us
It’s time we cleared our name”

Rock N Roll is a virus that never leaves the body. We all always return to it over and over again.

“All you suckers are a flock of sheep
I’ll be your shepherd, follow me”

Hallelujah is what I say.

And then as soon as I got into the song it was over after 2 minutes. It was like a freight train going off the rails and screaming the message for the “Church Of Rock N Roll”. I couldn’t get it out of my head so I replayed it over and over again. And the magic went through me one more time.

WHO ARE THESE GUYS!

It is that kind of album. It had me interested to find out more. When I heard it in 2012, I had no idea who was in the band, who produced it or how long the band had been together. It’s always cool to hear a fresh sounding retro album while most of the other acts chase modern rock hits that they still don’t have. The first eight tracks are special.

The album is produced by Justin Hawkins from “The Darkness” fame and you can hear the vocal influence on Eric Sean Nally.

And “Welcome To The Church of Rock ‘N’ Roll” is a classic because it hops genre’s so effortlessly and Foxy Shazam get away with doing a good job at it. It doesn’t sound like pop music but it does sound like the classics on radio. And back in 2012, it had me spreading the gospel of Foxy Shazam.

HOW DO YOU JUDGE SUCCESS?

You are an artist performing solo or within a band.

You decide to record an album.

You spend time and effort writing, recording, producing, mixing and mastering your latest opus.

You do some promo and release it.

Then what.

It doesn’t sell what you expected. Once upon a time, the definition of a successful act was based on how many records they sold.

And the streams are growing slowly but not enough in the first week. But after a year or two, the streams start growing and growing and growing.

Five Finger Death Punch came out in the piracy/streaming era, and that hasn’t stopped the band from racking up Platinum and Gold certifications. But it took time. It wasn’t an overnight, first week sales success.

And fans consume music differently. They will buy music. They will stream music. Some will do both, buy and stream. They will download music without paying for it. They will download and pay for it. They will buy a concert ticket or a T-shirt or a book from the artist. They might miss the first few albums and then invest a lot of dollars in a limited/deluxe edition release.

WASP released “The Crimson Idol” in the early nineties. Commercially it didn’t do anything to get a certification. But it is seen as Blackie Lawless’s finest achievement.

Machine Head released “The Blackening” in 2007. It didn’t sell to get a certification, however it allowed Machine Head to go on a three-year victory lap on the back of it, touring the world over and over and over again. It was hailed by Metal Hammer as the album of the decade. It is also seen as Machine Head’s definitive masterpiece.

And that’s a wrap for another week.

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Music, My Stories, Influenced, Unsung Heroes

2001 – Part 5.2: Slipknot – Iowa

“Iowa” is the second studio album by Slipknot, released by Roadrunner Records on August 28, 2001.

Produced by Ross Robinson and Slipknot but it’s Mike Fraser as the Engineer who deserves a special mention here. The guitars are downtuned a lot and somehow they don’t end up sounding muddled. Which gets me thinking that the placement of the microphones to record the guitars was pretty spot on for Andy Wallace in the mix department to give all 8 members space to do their thing.

The 1999 self-titled debut album took the Charts by surprise, so the pressure to deliver a worthy follow-up was at an all-time high.

Production for the album started with drummer Joey Jordison (RIP) and bassist Paul Gray (RIP) in October 2000. Most of the material was written during this time, while other members took a break after the extensive touring that had followed their debut.

By January 17, 2001, the whole band arrived and basically war was declared between each other. Fatigue was killing Jordison and Gray, while alcoholism and drug dependency was affecting Corey Taylor and the other members. On top of that they had management problems and a party culture full of women and narcotics.

Taylor even resorted to cutting himself with broken glass to achieve the desperation and doom in the vocal growls he wanted.

So if you don’t know Slipknot, they wear masks which obscure their faces and they are referenced with numbers.

(#8) is Corey Taylor on vocals, (#7) is Mick Thomson on guitars, (#6) is Shawn Crahan on percussion, backing vocals, editing, (#5) is Craig Jones on samplers, media, (#4) is Jim Root on guitars, (#3) is Chris Fehn on percussion, backing vocals, (#2) is Paul Gray on bass, backing vocals, (#1) is Joey Jordison on drums and (#0) is Sid Wilson on turntables.

Basically the album is a result of guys who hated each other, the world and the world hated them back. Welcome to “Iowa”.

People = Shit

Great title and a great way of the band saying to people “F off and leave us alone”.

Disasterpiece

Press play to hear the head banging intro.

“My Plague” and “Everything Ends” I normally skip.

The Heretic Anthem

The 6-6-6 chant in the song is reminiscent of other songs from notable acts.

Track 7, I skip.

Left Behind

The best song on the album for me, because of the clean tone vocals. Who knew that Corey Taylor could sing that good back in 2001, as Stone Sour was a few years away from releasing their debut.

Tracks 9 to 13, I skip.

Iowa

The closer at 15 minutes. It’s a Tool like dirge through desolation, doom and darkness. At some stages, it feels like the music if a demented soul.

I tried to like this album because of just how popular it became around the world. Gold Certifications in Australia, Belgium, France, Germany, Japan and Netherlands. Platinum certifications in Canada, the UK and the US.

Apart from “Left Behind” and “Iowa” there was nothing else here for me to grasp onto.

But, I did find the lyrics refreshing and totally different from what I was used to, which is a big reason why I kept giving Slipknot a chance.

If you like hard rock music then you won’t like this, as it borders on death and thrash metal with nu-metal influences.

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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 – Images and Words

“When Dream And Day Unite” came out in 1989, the label Mechanix did nothing with it.

The band didn’t tour and compared to the sale numbers that other bands achieved in 1989, the album was classed a failure. But it’s pretty hard to sell something if no one knows it exists or if it can’t be found in record stores. A little bit of promo during this time would have gotten the album at least 200K sales worldwide. There was a market for the kind of music that Dream Theater was writing. But the market needs to know about it.

It also didn’t help when the A&R Rep who signed the band, left Mechanix to go to a competitor. And when that normally happens in label land, the label in spite, tries to kill off the acts the Rep had signed. Further to that, Mechanix was being taken over by a larger label in MCA and when that normally happens, labels consolidate and focus on winning projects.

Apart from the label issues, the band decided that in order to be successful, they had to change something that was not working.

Vocalist, Charlie Domicini was let go. He was a decade older than the rest of the guys and his image didn’t fit with the band. But they got their manager to break the news to him.

Even a newly inked tattoo of the Dream Theater logo on his shoulder wasn’t enough to save him. According to the band, his vocal style just didn’t suit. While Portnoy and Petrucci wanted a cross between Geoff Tate and Bruce Dickinson, they knew that finding such a vocalist was not going to be an easy task.

Dominici’s lyrics on the first album, a co-write with John Petrucci on “Status Seeker” and the sole lyricist for “Afterlife” resonated more than all of the other lyrics penned by Petrucci and Kevin Moore.

Being a bit older, meant he had a bit more experience with words and story-telling. But his voice is an acquired taste and he did cop some criticism for sounding like a bad imitation of Geddy Lee. But his vocals on “The Killing Hand” are my go to vocals for this song.

But as soon as Dominici was gone, he was back in for a gig, opening for Marillion, who wanted to unveil their new singer Steve Hogarth for his U.S debut. Portnoy was a massive fan of Marillion, so the opening slot was a dream come true. The band was on fire, but it was too little too late for Dominici who was let go again after it.

At first the band focused on trying to find a new singer as they still had six albums to deliver on the Mechanix deal. This process would take 14 months to happen. The book “Lifting Shadows” from Rich Wilson goes into great detail about the “search for a singer”.

John Arch was the first vocalist the band approached. He was out of Fates Warning after the release of “Awaken The Guardian” album in 1986. They rehearsed “The Killing Hand”, “Only A Matter Of Time” and a cover of Fates Warning “The Apparition”. Arch felt uncomfortable about how the band members wanted the vocals to sound. He felt it was too rigid. But the reason Arch left was family circumstances. He was about to become a Dad, he had a long commute to rehearse and he wasn’t comfortable spending so much time away from his family.

John Hendricks was the second vocalist the band rehearsed with after he sent the band a demo from an ad the band put out.

His appearance was more New Kids On The Block and the live audition in December 1989 didn’t go down well. But they kept him around to do vocals on some new demos called “Metropolis”, “To Live Forever” and “Don’t Look Past Me”. When they went back to live rehearsals, Hendricks still didn’t cut it, but his studio work was exceptional. The band wanted to move forward with Hendricks but label and management weren’t convinced. While Petrucci and Portnoy wanted a Tate/Dickinson style of a singer, Hendricks was none of that, more Pete Gabriel than anything and his image was New Wave compared to the Hard Rock and Metal image of Dream Theater.

Next was Steve Stone.

Stone was from Seattle and he had replaced Geoff Tate in the band “Myth”, Tate’s pre Queensryche band. Stone’s manager at the time was journalist Paul Suter, who sent demo tapes of Stone to George Lynch for the Lynch Mob project, to Steve Stevens for his Atomic Playboys project and to Dream Theater. Portnoy liked Stone’s voice, a cross between Tate and Steve Perry. Stone enjoyed the audition but conversations afterwards with the band made him feel that his creativity would be stifled.

However, they did get Stone to do studio vocal versions on “Metropolis” and “To Live Forever” as Mechanix wanted to hear product.

And then they played live. As soon as Stone yelled” Scream For Me Long Beach” and then kept on yelling it throughout the show, he sealed his axing.

By September 1990, the band was still without a singer and with a label that was losing interest in the band (as if they hadn’t lost it already) but wouldn’t release them from their contract.

Enter Chris Cintron. His demo tape was rejected at first but after Hendricks and Stone didn’t work out, Portnoy called Cintron to an audition.

Cintron’s voice was more Steve Walsh from Kansas and he was also the first singer to sing on a new song called “A Change Of Seasons”. The fact that everything was written and Cintron just had to perform what was written, didn’t sit well with him as well. Image and a few other disagreements with Kevin Moore, sealed his fate.

During this time, they also focused on writing better songs. Most bands normally have 3 months to come out with album number 2. Dream Theater in this case had close to 2 years. Furthermore, their sound evolved from the technical derivative metal sound on “When Dream and Day Unite”, to a more warmer sound, rooted in classic progressive rock with nods to Heavy Metal.

As the singer search took time, the seven album deal with Mechanix fizzled out.

But they had an ally in journalist Derek Oliver. Oliver wrote for Kerrang and he was a fan of the band. As fate would have it, Oliver moved into an A&R role at the same time that Dream Theater found themselves searching for a label who would support them.

Enter Kevin James LaBrie. He was part of Canadian glam metal band Winter Rose during this time and he sent the band an audition tape. After a short jam session, he was named Dream Theater’s new lead singer, and has remained with them ever since.

The band was then signed to a seven-album contract by Atco Records, and shortly thereafter, they began recording their new album in late 1991. The album’s production was marred with tensions, as the band clashed with producer David Prater who was chosen by Derek Oliver.

Enter Dream Theater with “Images and Words”. Released in 1992.

The album was unique and innovative to remain rooted to the prog rock niche that Derek Oliver spoke about in 1989 and it was familiar enough to cross over to the hard rock audience, looking for something new and exciting.

Dream Theater originally intended to release a double album, but that plan was rejected by ATCO, causing several songs to be omitted from the album. One of these songs, “A Change of Seasons”, would later be re-recorded by the band and released on an EP of the same name in 1995.

A Billboard review didn’t have great things to say about it;

“Power rock band’s Atco debut shows its members did plenty of listening to Yes, Boston and even Black Sabbath while growing up.

While the material is all well delivered, lead vocalist James LaBrie has a voice that stretches to fit the many different styles represented here, the main problem is the music, which sounds like it was written in the 70’s.

However given that the bands potential fans probably weren’t born until the end of that decade, it shouldn’t serve as any great detriment.”

Pull Me Under

Music composed by the band and lyrics written by Kevin Moore.

The lead single, “Pull Me Under”, gained the band a lot of commercial success with its airplay on MTV and radio, garnering them a top 10 hit on Billboard’s Hot Mainstream Rock Tracks chart. When the album was released, it sold at a steady pace, helped by an extensive world tour.

Its original working title was “Oliver’s Twist” as it was a last minute song written at the request of Derek Oliver. The original version also had the unbelievable solo section from “Erotomania” in it.

“Pull Me Under” was so good, that John Petrucci used the 1st verse riff of “Pull Me Under” in “The Count Of Tuscany” 1st Verse from the album, “Black Clouds and Silver Linings” released in 2009.

He also used the structure and dynamics for the song “On The Backs Of Angels” from the album “A Dramatic Turn Of Events” released in 2011.

As soon as the first three notes of the acoustic arpeggio are played, I was hooked. Then Portnoy started with his drum build. Metallica used an approach like this on “Enter Sandman”.

Another Day

Music is by the band with lyrics written by John Petrucci.

It’s like a hard rock ballad, but the guitar playing and the choice of chords by Petrucci is excellent. And the Soprano Sax solos are just perfect.

But press play to hear Petrucci on the lead break. It’s well worked out, it flows brilliantly, its melodic and cruisy and then he steps on the pedal and then brings it back to cruisy.

Take the Time

It’s a team effort on the lyrical front with Moore, Petrucci, Mike Portnoy and John Myung contributing.

How good is that start? The fast riffing is a cross between Van Halen and Metallica.

Then the verses go into a Rock Funk groove.

And the Chorus, its melodic hard rock.

As a guitar player, this song is like a Chord Book on complex chords.

Surrounded

It’s listed as words and music by Kevin Moore.

It starts off as a piano ballad, before it builds up to a funky blues rock tune.

But press play to hear the digital delay lead break from John Petrucci. It feels like The Edge from U2, but a lot better.

Metropolis—Part I: ‘The Miracle and the Sleeper’

It’s a monster of a song that every Metal and Rock fan would enjoy.

The pulsing intro alone is head banging material.

But those verses. Petrucci plays fast palm muted chords like the “Darkness, imprisoning me” part in “One” and keyboardist Moore outlines the chord progression with his riffs, while Portnoy plays a “Kashmir” like beat.

Perfection to my ears.

Under a Glass Moon

What an intro, pushing the envelope of what metal and rock should sound like.

But press play for the groove in the Verses from Petrucci and Myung, while Moore outlines the Chord progression with his keyboards.

And then wait to hear Petrucci on the solo.

Wait for Sleep

A brilliant piano piece from Kevin Moore. It’s like a haunting soundtrack. The main piano idea from here appears in “Learning To Live” and when it comes in, its brilliant.

Learning to Live

At 11.30 it’s the longest song on the album. The music is written by the band and lyrics are written by John Myung.

If I had to recommend one song to a new Dream Theater fan that typified the progressive rock leanings of the band, then this song would be it.

The song is that good, that Dream Theater rewrote it and called it “Breaking All Illusions” for the “A Dramatic Turn of Events” album in 2011.

The Kevin Moore keyboard intro kicks things off with a wicked 15/8 time signature. This same passage re-appears and this time it is played over alternating time signatures, starting off with 14/8 for 2 bars, then 13/8 for one bar and back to 14/8 for another bar. Then it goes back to 13/8, 14/8, 13/8, 7/8.

In between you get a very metal like passage in the vein of “Immigrant Song” from Led Zeppelin, that moves between 7/4,6/4,4/4 and 5/8 time signatures over F#m, C#m and Em root notes. It doesn’t sound forced. It is very fluent like.

The verse is unbelievable. Myung holds it all together with an unbelievable groove over a 7/4 and 6/4 time signature, that is supplemented by Kevin Moore’s choir like voicing’s outlining the Em9, Cmaj9, Amadd9 and Em9 chords. Myung paraphrases the novel “Atlas Shrugged” from Ayn Rand.

There was no time for pain, no energy for anger
The sightlessness of hatred slips away
Walking through winter streets alone, He stops and take a breath
With confidence and self-control

I look at the world and see no understanding
I’m waiting to find some sense of strength
I’m begging you from the bottom of my heart to show me understanding

Petrucci and Portnoy build the song nicely into the chorus. Petrucci begins with normal volume swells, while Portnoy locks in with Myung. As Petrucci’s guitar gets busier with harmonics, chords and arpeggios, Portnoy’s drumming becomes busier.

The second verse has a great progressive groove that keeps within the 7/4 and 6/4 time signature of the first verse. This time it’s all power chords and its heavy as hell. Chugging along on an E5 power cord, Petrucci enhances the riffs by chucking in B5, Bflat5 and F power chords, utilising the devil triton to maximum effect.

The 90s bring new questions
New solutions to be found
I fell in love to be let down

Then when you think they are going to go into the Chorus again, they go into a bridge part with a simple 4/4 groove and then the instrumental break starts. Petrucci is now playing what Moore played in the intro.

The flamenco passage at 5.30 kicks things off. From 6.30 it gets progressive and then the woo ohh ohhs kick in and Petrucci takes over at 7.10 in one of the most heartfelt solos Petrucci has laid to tape. Those bends remind me of Dave Gilmour in “Comfortably Numb”.

The whole “Wait For Sleep” segment that begins at 7.30 and ends at 9.35 includes brilliant jazz bluesy solos from both Moore and Petrucci and the main piano riff from “Wait For Sleep”. It then segues back in to the Chorus.

The way that your heart beats
Makes all the difference in learning to live

Just when you think the song is over, the outro kicks in, again led by an unbelievably groovy and very funky Myung bass line. Then Petrucci joins in with the Natural Harmonics and then the monk style voices take over. As a listener I just sit back with the head phones and allow myself to be taken away. A brilliant song and a brilliant piece of work.

Mike Portnoy has gone on record saying how much he hated working with producer David Prater and the use of drum midi triggers. Portnoy feared that the triggers would make the album sound dated and seen as another generic hard rock album.

One thing is certain.

The album still sounds fresh and current in 2022 as it did back in 1992. As Rush’s “2112” laid the groundwork for what was to come for Rush, “Images and Words” did the same for Dream Theater.

The tour finished in November, 1993. Overall they played 194 shows in 17 countries. “Images And Words” was certified Gold in the U.S. Everything they worked hard and persevered with, had finally happened.

The pressure for a successor was intensified.

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

The Record Vault: Baby Animals – Baby Animals

The debut Baby Animals album was everywhere in Australia. Before the album was released in September 1991, they had some serious momentum over 15 months coming in to the album. The Angels was one of the biggest bands in Australia during this time and the Baby Animals was the opening act between 1990/91.

The album debuted at number six on the ARIA Album Charts and spent six weeks at number one, eventually going eight times platinum and becoming the highest-selling debut Australian rock album of all time (until the release of Jet’s album, “Get Born” 12 years later).

I saw em live at the Revesby Workers Club on the tour. An up and coming band called Judge Mercy was opening for them. They were excellent, but they unfortunately disappeared when the labels started dropping metal and rock acts in a years’ time.

And the Baby Animals rocked. Drummer Frank Celenza was huge behind the kit, laying down the foundations along with bassist Eddie Parise. Dave Leslie on guitar is so underrated, playing a chicken picking style and Suze DeMarchi on guitar rocks hard. Everyone raves about Lzzy Halestorm, but I’m pretty sure she would have been influenced by DeMarchi. And on vocals, DeMarchi is bluesy and soulful.

The album was produced by task master Mike Chapman and engineered by Kevin Shirley. The personnel alone shows the albums intention.

And my favourite track is “Working For The Enemy”, that whole break down section, lead break and build up is excellent. My second favourite is the metal like “Waste Of Time” with its energetic double kick intro and heavy blues boogie rock riffs.

“One Too Many” is “Rock N Roll Noise Pollution” in spirit and influence, while “Aint Gonna Get” is AC/DC on steroids and highway speed tempos with a Chorus that reminds me of “I Love Rock And Roll”.

And I haven’t even gotten into the singles yet.

How good is the intro to “One Word”?

But DeMarchi didn’t like the song after it was finished and asked the label to keep it off the album. The song went through a transformation, from a country-ish rock feel in the demo (which can be heard on the 25th Anniversary Edition) to the melodic rock beast it became, as Chapman kept asking them to work on it.

Guitarist Dave Leslie paid his dues in a Cold Chisel covers band called Swingshift, playing Australian pub rock classics on a nightly basis and he knew what worked with audiences. His chicken finger picked intro to “One Word” is guitar hero worthy.

“Rush You” is the opener as the power chord crashes down and the cymbals ring before it goes into a double time beat and some series riffage and how cool is that “Back in Black” walking chromatic riff just before the verse.

“Early Warning” begins with the drums while a slide guitar plays a rock riff and the music then stops while DeMarchi sings, “Too Young To Know and Too Old To Listen”.

The band kicks in again. Then the verses come and it’s like a Jimi Hendrix song, before it moves into the power of the Chorus.

“Painless” has this funk blues boogie which I like. If you haven’t heard it, today is a great day for it.

They toured hard on this album, playing all the major cities and regional towns in Australia, and once Bryan Adams heard the album, he added them to his European leg.

The Black Crowes added them to their Australian and New Zealand tour, while Eddie Van Halen, asked for them to be the support act on the “For Unlawful Carnal Knowledge” tour after he heard the album via his wife Valerie Bertinelli.

By the time their touring commitments ended for the album in August 1992, they had played over 500 shows.

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